NGV Annual Report 2007-08 – Part 2 (including financial details)

ngv.vic.gov.au

NGV Annual Report 2007-08 – Part 2 (including financial details)

Financial and

Other Statutory Reports


66 67


Financial statements for financial year ended 30 June 2008 Operating statement for financial year ended 30 June 2008

In our opinion,

(a) the attached Operating

Statement, Balance Sheet,

Statement of Changes in Equity,

Cashflow Statement and Notes to

the financial statements present

fairly the financial transactions

for the year ended 30 June

2008 and the financial position

professional requirements,

Total revenue from ordinary activities 73,469 72,576

of the Council of Trustees of the

68 69

National Gallery of Victoria as

at 30 June 2008,

(b) the accounts have been

maintained in accordance with

the National Gallery of Victoria

Act 1966 and regulations

made thereto,

(c) the financial statements have

been prepared in accordance

with Standing Direction 4.2 of the

Financial Management Act 1994,

applicable Financial Reporting

Directions, Australian Accounting

Standards and other mandatory

(d) at the date of signing these

statements the Council of Trustees

is not aware of any circumstances

that would render any particulars

included in these statements

misleading or inaccurate.

OPERATING STATEMENT

Revenue from ordinary activities

Notes

2008

$ ’000s

2007

$ ’000s

Income from Government 2.1 44,442 42,448

Resources received free of charge 2.2 400 400

Other income 2.3 28,627 29,728

Expenses from ordinary activities

Employee benefits 3 19,624 18,393

Depreciation 10 10,168 9,758

Use of premises provided free of charge 1( e) 400 400

Capital asset charge 1(i) 3,954 3,858

Supplies and services 4 36,238 32,580

Other expenses from ordinary activities 5 250 76

Total expenses from ordinary activities 70,634 65,065

Allan Myers

President

28 August 2008

Gerard Vaughan

Director

28 August 2008

Elizabeth Grainger FCA

Chief Financial Officer

28 August 2008

Net result for the reporting period 2,835 7,511

The above operating statement should be read in conjunction with the accompanying notes.


Balance sheet as at 30 June 2008 Statement of changes in equity for financial year ended 30 June 2008

BALANCE SHEET

Current assets

Notes

2008

$ ’000s

2007

$ ’000s

Cash and cash equivalents 22 7,850 2,008

Receivables 6 1,290 2,713

Inventories 7 1,763 1,484

Prepayments and other assets 1,742 3,732

Other financial assets 8 8,433 8,453

70 Total current assets 21,078 18,390

Net result for the period 2,835 7,511 71

Non-current assets

Other financial assets 8 28,176 34,157

Cultural assets 9 3,267,710 2,489,495

Property, plant and equipment 10 227,844 236,588

Total non-current assets 3,523,730 2,760,240

TOTAL ASSETS 3,544,808 2,778,630

Notes

2008

$ ’000s

2007

$ ’000s

Total equity at beginning of financial year 2,762,166 2,721,111

Net increase/(decrease) in asset revaluation reserve 14.2 – 37,488

Net increase/(decrease) in cultural assets revaluation reserve 14.2 769,532 (5,006)

Net increase/(decrease) in available-for-sale revaluation reserve 14.2 (2,754) 1,062

Net income recognised directly in equity 766,778 33,544

Total recognised income and expense for the period 769,613 41,055

Total equity at end of financial year 3,531,779 2,762,166

The above statement of changes in equity should be read in conjunction with the accompanying notes.

Cashflow statement for financial year ended 30 June 2008

Current liabilities

Payables 11 8,807 11,410

Other current liabilities 12 875 1,808

Provisions 13 3,123 3,047

Total current liabilities 12,805 16,265

Non-current liabilities

Provisions 13 224 199

Total non-current liabilities 224 199

CASHFLOWS FROM OPERATING ACTIVITIES

Notes

2008

$ ’000s

2007

$ ’000s

Receipts from Government (inclusive GST) 44,442 42,448

Less capital asset charge (3,954) (3,858)

Receipts from other entities (inclusive GST) 29,397 23,610

Goods and Services Tax recovered from the Australian Tax Office 2,366 2,498

Payments to suppliers and employees (inclusive GST) (60,619) (61,539)

11,632 3,160

TOTAL LIABILITIES 13,029 16,464

NET ASSETS 3,531,779 2,762,166

Interest income on bank deposits 152 275

Net cash inflow from operating activities 23 11,784 3,435

EQUITY

Contributed capital 14.1 159,345 159,345

Reserves 14.2 3,398,744 2,619,336

Accumulated deficit 14.3 (26,310) (16,515)

TOTAL EQUITY 3,531,779 2,762,166

CASHFLOWS FROM INVESTING ACTIVITIES

Transfers from managed funds 1,500 1,800

Proceeds from the sale of deaccessioned cultural assets 366 –

Payments for cultural assets (5,914) (10,466)

Payments for property, plant and equipment 10 (1,019) (1,570)

Net cash outflow from investing activities (5,067) (10,236)

Contingent liabilities and contingent assets 19

Commitments for expenditure 20

The above balance sheet should be read in conjunction with the accompanying notes.

CASHFLOWS USED IN FINANCING ACTIVITIES

Repayments of Government advance (875) (1,750)

Repayment of finance lease – (58)

Net cashflows used in financing activities (875) (1,808)

NET CASHFLOWS FOR PERIOD 5,842 (8,609)

CASH AT THE BEGINNING OF THE FINANCIAL YEAR 2,008 10,618

CASH AT THE END OF THE FINANCIAL YEAR 22 7,850 2,008

The above cashflow statement should be read in conjunction with the accompanying notes.


Notes to and forming part

of the accounts

1. Summary of significant accounting policies

Trustees and is recorded at fair value at the conditions so that there is minimal physical financial assets represent funds invested under

72 73

time of the donation. Fair value is determined deterioration. They are expected to have the National Gallery of Victoria’s Endowed

Reporting entity

The financial report covers the Council of

Trustees of the National Gallery of Victoria

(“the National Gallery of Victoria”) which is

a statutory authority established under the

National Gallery of Victoria Act 1966, as

amended, of the State of Victoria.

Its principal address is:

180 St Kilda Road

Melbourne Victoria 3004

The National Gallery of Victoria is an

administrative agency acting on behalf of the

Crown and this financial report includes all its

controlled activities.

a. Statement of compliance

This general purpose financial report has

been prepared on an accrual basis in

accordance with the Financial Management

Act 1994, applicable Australian Accounting

Standards, Interpretations and other mandatory

professional requirements. Accounting

Standards include Australian equivalents of

International Financial Standards (‘A – IFRS’).

The financial report was authorised for issue by

the Council of Trustees on 28 August 2008.

b. Basis of preparation

The financial report is prepared in accordance

with the historical cost basis except for the

revaluation of certain non-current assets and

financial instruments. Cost is based on the

fair value of the consideration given in

exchange for assets.

Accounting policies are selected and applied

in a manner which ensures that the resulting

financial information satisfies the concepts of

relevance and reliability, thereby ensuring that

the substance of the underlying transactions

or other events is reported.

The accounting policies set out below have

been applied in preparing the financial

statements for the year ended 30 June 2008

and the comparative information presented for

the year ended 30 June 2007.

c. Goods and services tax (GST)

Revenues, expenses and assets are recognised

net of GST except where the amount of the

GST incurred is not recoverable, in which case

it is recognised as part of the cost of acquisition

of an asset or part of an item of expense.

The net amount of GST recoverable from, or

payable to, the Australian Taxation Office is

included as part of receivables or payables

in the Balance Sheet. The GST component

of a receipt or payment is recognised on a

gross basis in the Cashflow Statement and

is classified as an operating cashflow.

d. Income recognition

In accordance with AASB 118 Revenue,

revenues are measured at the fair value of

the consideration or contribution received

or receivable.

Sale of goods and disposal of other assets:

Revenue arising from the sale of goods or the

disposal of other assets is recognised when the

following conditions have been satisfied:

• the significant risks and rewards of

ownership of the goods have transferred

to the buyer;

• the National Gallery of Victoria retains

neither continuing managerial involvement

to the degree usually associated with

ownership nor effective control over

the goods sold;

• the amount of revenue can be

reliably measured;

• it is probable that the economic benefits

associated with the transaction will flow to

the National Gallery of Victoria; and

• the costs incurred or to be incurred

in respect of the transaction can be

measured reliably.

Revenue for services

Revenue arising from a contract for the

provision of services is recognised by reference

to the stage of completion of the contract when

the following conditions have been satisfied:

• the amount of the revenue, stage of

completion and transaction costs incurred

can be reliably measured; and

• it is probable that the economic benefits

associated with the transaction will flow to

the National Gallery of Victoria.

Sponsorship income

Revenue from sponsorship contracts, both

cash and contra, is recognised as revenue over

the period during which the contractual and

servicing obligations of the National Gallery

of Victoria are discharged.

The National Gallery of Victoria enters

into contra sponsorship contracts to receive

sponsorship in various forms other than cash

in exchange for promoting the provider as a

corporate supporter. These contracts are treated

as contracts for the provision of services.

Contribution of assets

Revenue arising from the contribution of assets

is recognised when the following conditions

have been satisfied:

• control of the contribution or right to receive

the contribution exists; and

• it is probable that the economic benefits

comprising the contribution will be realised.

State Government income

State Government appropriation and other

State grants are recognised on receipt in

accordance with AASB 118 Revenue.

Investment income

Investment income is generally recognised when

receivable. Dividends are recognised when the

right to receive payment is established.

Memberships

Memberships are recognised when received

and over the period of the membership.

Gifts

Bequests and donations are recognised on

receipt. Donated cultural assets are recognised

when the gift is accepted by the Council of

by either an average of independent valuations

for works donated under the Cultural Gifts

Program, or by a curatorial assessment by

the National Gallery of Victoria.

e. Resources provided and received free of

charge or for nominal consideration

Contributions of resources and resources

provided free of charge or for nominal

consideration are recognised at their fair value.

Contributions in the form of services are only

recognised when a fair value can be reliably

determined and the services would have

been purchased if not donated.

f. Employee benefits

Employee benefits include all costs related

to employment including wages and salaries

leave entitlements, redundancy payments

and superannuation contributions.

These are recognised when incurred.

g. Superannuation

The amount charged to the Operating

Statement in respect of superannuation

represents the contribution made by

the National Gallery of Victoria to the

superannuation funds of employees.

h. Depreciation

Property, Plant and Equipment

Depreciation is provided on property, plant

and equipment, including freehold buildings but

excluding land. Depreciation is calculated on

a straight-line basis so as to write off the net

cost of each item of property (excluding land)

over its expected useful life to the National

Gallery of Victoria. Estimates of the remaining

useful lives for all assets are reviewed at

least annually.

Depreciation is treated as an operating expense

and recognised in the Operating Statement

using the following rates (both 2007–2008

and 2006–2007):

Buildings 1.00%

Building fit-out 6.67–7.50%

Leasehold improvements 9.76%

Plant and equipment 3.33–33.33%

Cultural assets

Cultural assets are kept under special

indeterminate useful lives to the National

Gallery of Victoria. No amount for depreciation

has, therefore, been recognised in respect of

cultural assets, as their service potential to

the National Gallery of Victoria has not, in any

material sense, been consumed during the

reporting period.

i. Capital asset charge

The capital asset charge is imposed by the

Department of Treasury and Finance and

represents the opportunity cost of capital

invested in the non-current physical assets

used in the provision of outputs. The charge

is calculated on the carrying amount of noncurrent

physical assets (excluding heritage

and cultural assets).

j. Supplies and services

Supplies and services represents the day to day

operating costs, including maintenance, security

and exhibition related costs, incurred in the normal

operations of the National Gallery of Victoria.

k. Cash and cash equivalents

Cash and cash equivalents comprise cash on

hand, cash at bank and bank deposits on call.

l. Receivables

Receivables consist predominantly of debtors

in relation to goods and services and GST input

tax credit recoverable.

A provision for doubtful receivables is made

when there is objective evidence that the debts

may not be collected. Bad debts are written off

when they are known to be uncollectable.

m. Inventories

Inventories include goods held for sale and are

valued at the lower of cost or net realisable

value. Full provision is made for slow moving

and obsolete stock. Net realisable value

represents the estimated selling price less all

estimated costs of completion and costs to be

incurred in marketing, selling and distribution.

n. Financial assets

Financial assets held are classified as being

available for sale and are stated at fair value.

Gains and losses arising from the changes in

fair value are recognised directly in equity until

the investment is disposed of or is determined

to be impaired, at which time the cumulative

gain or loss previously recognised in equity is

included in the net result.

Current financial assets represent funds

invested under the National Gallery of Victoria’s

Medium Term Investment Strategy. Non-current

Funds Investment Strategy. The majority of

these funds have been donated or bequeathed

by the general public to the National Gallery of

Victoria and are directed towards the purchase

of works of art, or other purpose, as specified

by the original donor.

o. Non-current assets

Carrying value of non-current assets

Land and buildings are measured initially at

cost, and subsequently at fair value.

Plant and equipment are measured at cost less

accumulated depreciation and impairment.

Purchased cultural assets are carried at cost

and subsequently at fair value. Donated or

bequeathed cultural assets are initially carried

at cost and subsequently at fair value.

Revaluations of non-current assets

Non-current assets measured at fair value

are revalued in accordance with FRD 103C

Non- Current Physical Assets. This revaluation

process normally occurs every five years,

based upon the asset’s Government

Purpose Classification.

Revaluation increments or decrements arise

from differences between carrying amount and

fair value. Revaluation increments are credited

directly to the asset revaluation reserve, except

that, to the extent that an increment reverses a

revaluation decrement in respect of that class

of asset previously recognised as an expense

in the net result, the increment is recognised

immediately as revenue in the net result.

Revaluation decrements are recognised

immediately as expenses in the net result,

except that, to the extent that a credit balance

exists in the asset revaluation reserve in

respect of the same class of assets, they are

debited directly to the asset revaluation reserve.


Impairment of assets

All assets are assessed annually for indications

of impairment (i.e. as to whether their carrying

value exceeds their recoverable amount).

If there is an indication of impairment, the

assets concerned are tested to determine

whether their carrying value exceeds their

recoverable amount. Where the asset’s

carrying value exceeds its recoverable amount,

the difference is written off by a charge

to the Operating Statement except to the

extent that the write-down can be debited

to an asset revaluation reserve applicable and other sundry liabilities. Payables are carried (iii) Employee on–costs

where indicated otherwise.

rate existing at reporting date.

standards early.

74 75

to the specific asset.

at amortised cost and represent liabilities for Related employee on-costs including payroll

The recoverable amount for assets is measured

at the higher of the net present value of future

cashflows expected to be obtained from the

asset and fair value, less costs to sell.

Revaluation increments and decrements are

offset against one another within a class of

non-current assets.

Restrictive nature of cultural assets

Cultural assets comprise works of art in the

State Collection and other works of art and

cultural assets. Control of the State Collection

is vested in the Council of Trustees of the

National Gallery of Victoria by virtue of the

National Gallery of Victoria Act 1966, as

amended. Additions to the State Collection

may take the form of either a purchase by the

National Gallery of Victoria or a donation

from a third party.

All cultural assets are held for exhibition,

education, research and historical interest.

Such assets are deemed worthy of preservation

because of the social rather than financial

benefits they provide to the community. The

nature of these assets means that there are

certain limitations and restrictions imposed on

their use and/or disposal.

p. Leased assets

A distinction is made between finance leases

which effectively transfer from the lessor

to the lessee substantially all the risks and

benefits incidental to ownership. Finance

leases are capitalised. An asset and liability are

established at the present value of minimum

lease payments. Lease payments are allocated

between the principal component of the lease

liability and the interest expense.

The leased asset is amortised on a straight-line

basis over the term of the lease, or where it is

likely that the National Gallery of Victoria will

obtain ownership of the asset, the expected

useful life of the asset to the National Gallery of

Victoria. Any leased assets that would be held

at the reporting date would be amortised over

the period of the underlying lease or a shorter

period if the expected useful life were less.

Operating lease payments are charged to the

Operating Statement in the periods in which

they are incurred, as this represents the pattern

of benefits derived from the leased assets.

q. Payables

Payables consist predominantly of creditors

goods and services provided to the National

Gallery of Victoria prior to the end of financial

year that are unpaid, and arise when the

National Gallery of Victoria becomes obliged

to make future payments in respect of the

purchase of these goods and services.

r. Provisions

(i) Wages, salaries, and annual leave

Liabilities for wages and salaries including

non-monetary benefits and annual leave are:

(a) disclosed in accordance with AASB 101,

Presentation of Financial Statements, as

a current liability even where the National

Gallery of Victoria does not expect to settle

the liability within 12 months as it will not

have the unconditional right to defer the

settlement of the entitlement should an

employee take leave within 12 months;

(b) Measured at:

• Nominal value under AASB 119, Employee

Benefits, where a component of this current

liability is expected to fall due within

12 months after the end of the period; and

• Present value under AASB 119, Employee

Benefits, where the entity does not expect

to settle a component of this current

liability within 12 months.

(ii) Long service leave

Liability for long service leave is recognised in

the provision for employee benefits:

• Unconditional long service leave

(representing 7 or more years of

continuous service) is disclosed

in accordance with AASB 101, Presentation

of Financial Statements, as a current liability

even when it is not expected that settlement

will occur within 12 months because

there is no unconditional right to defer the

settlement of this entitlement should an

employee take leave within 12 months.

• Where the agency does not expect to settle

within 12 months amounts are measured

at present value under AASB 119, Employee

Benefits, and nominal value for the component

that is expected to settle within 12 months.

• long service leave representing less than 7

years of continuous service is disclosed as

a non-current liability as there is an

unconditional right to defer the settlement

of the entitlement until the employee has

completed the requisite years of service.

This is measured at present value.

tax and workers compensation premiums have

been included in the calculation of liabilities for

employee benefits.

s. Contributed capital

Consistent with AASB Interpretation 1038

Contributions by Owners Made to Wholly-

Owned Public Sector Entities, appropriations for

additions to net assets have been designated

as contributed capital. Other transfers

that are in the nature of contributions or

distributions have also been designated as

contributed capital.

t. Reserves

(i) Contributed capital

Represents transfers of capital to the National

Gallery of Victoria by the State Government of

Victoria to fund its infrastructure.

(ii) Collection reserve

Represents accumulated revenue received

from donations, bequests, investment income

and similar sources which is dedicated to the

acquisition of cultural assets. This reserve also

includes the value of gifts in kind. Amounts

in respect of years prior to the year ended 30

June 2001 are approximations only.

(iii) Infrastructure reserve

Represents accumulated revenue received

from donations, bequests, grants, investment

income and similar sources which is dedicated

to the purchase of non-current fixed assets and

infrastructure. This reserve was established as

at 30 June 2005 and includes revenue received

since 1 July 2001.

(iv) Asset revaluation reserve

Represents increments arising from the

periodic revaluation of non-current assets,

including cultural assets.

(v) Available-for-sale revaluation reserve

Represents increments arising from the

revaluation of investments.

u. Contingent assets and

contingent liabilities

The National Gallery of Victoria discloses

both contingent assets and contingent

liabilities when they arise by way of note. All

contingencies are discounted to their present

value using the pre-tax rate that reflects current

market assessments of the time value of money

and risks specific to the contingencies.

v. Rounding of amounts

Amounts shown in the financial statements are

rounded to the nearest thousand dollars except

w. Comparatives

Some comparative figures have been changed

to ensure consistency of the previous year’s

presentation with that of the current year.

x. Commitments

Commitments include those operating,

capital and other outsourcing commitments

arising from non-cancellable contractual

or statutory sources and are disclosed at

their nominal value.

y. Foreign currency

All foreign currency transactions during the

financial year are brought to account using

the exchange rate in effect at the date of

the transaction. Foreign monetary items at

reporting date are translated at the exchange

Exchange differences are recognised in the

operating statement in the period in which

they arise.

2. Revenue from ordinary activities

2 REVENUE FROM ORDINARY ACTIVITIES Notes

2.1 Income from Government 1(d)

z. Functional and presentation currency

The functional currency of the National

Gallery of Victoria is the Australian Dollar,

which has also been identified as the

presentation currency.

aa. New accounting standards and

interpretations

Certain new accounting standards and

interpretations have been published that are

not mandatory for the 30 June 2008 reporting

period. The National Gallery of Victoria has

not, and does not intend to, adopt these

2008

$ ’000s

2007

$ ’000s

State — recurrent 39,127 37,229

State — depreciation equivalent revenue 221 64

State — other 738 891

State — capital asset charge 1(i) 3,954 3,858

State — Department of Education and Training 402 406

2.2 Resources received free of charge

Premises at the Public Records Office Victoria occupied

without financial consideration

1(e)

44,442 42,448

400 400

400 400


2. REVENUE FROM ORDINARY ACTIVITIES (CONT’D)

4. Supplies and services

2 REVENUE FROM ORDINARY ACTIVITIES (CONT’D) Notes

2.3 Other Income

Operating activities

2008

$ ’000s

2007

$ ’000s

Gross trading sales 4,388 5,188

Less: cost of goods sold (2,369) (2,993)

Gross trading margin 2,019 2,195

76 Exhibition and program admissions 4,961 4,274

Other operating expenses 2,220 2,169 77

Cash sponsorship 1(d) 1,709 1,060

Contra sponsorship 1(d) 1,478 903

Membership 1,695 1,390

Visitor and functions catering 1,707 1,502

Donations for operating purposes 387 382

Other revenue 1,420 1,709

Fundraising activities

15,376 13,415

Donations and bequests 11,216 5,917

Memberships 125 309

Donated cultural assets 3,302 4,493

Proceeds on sale of deaccessioned cultural assets 366 -

Investing activities

15,009 10,719

Interest — bank deposits 152 275

Dividends and interest — managed funds 1,816 3,357

Net realised gain / (loss) on distributions (107) 1,998

Unrealised market value appreciation / (depreciation) (3,527) 4

Interest expense (92) (40)

3. Employee benefits

3. EMPLOYEE BENEFITS Notes

(1,758) 5,594

28,627 29,728

2008

$ ’000s

2007

$ ’000s

Salaries and associated costs 16,473 15,420

Superannuation contribution 17 1,474 1,174

Provision for annual leave 1,290 1,583

Provision for long service leave 387 215

1(f) 19,624 18,393

4. SUPPLIES AND SERVICES Notes

2008

$ ’000s

2007

$ ’000s

Building management (including security) 10,880 10,373

Building and equipment services 6,866 6,819

Promotion and marketing 6,056 4,748

Freight and materials 4,614 2,742

Office supplies, insurance and communications 3,265 3,392

Rent 2,337 2,336

5. Other expenses from ordinary activities Notes

1(j) 36,238 32,580

5. Other expenses from ordinary activities

2008

$ ’000s

2007

$ ’000s

Book value of deaccessioned cultural assets sold 250 -

Assets written down to recoverable amount 10 - 76

6. Receivables

6. Receivables Notes

250 76

2008

$ ’000s

2007

$ ’000s

Trade debtors 704 1,786

Less: provision for doubtful receivables (124) (223)

1(l) 580 1,563

GST receivable 487 487

Other debtors 223 663

Movement in the provision for doubtful receivables

16 1,290 2,713

Balance at the beginning of the year 223 150

Amounts written off during the year (50) -

Increase / (decrease) in allowance recognised (49) 73

Balance at end of the year 124 223


7. Inventories

9. Cultural assets

7. INVENTORIES Notes

2008

$ ’000s

2007

$ ’000s

Goods held for resale 2,903 2,535

Less: provision for slow-moving stock (1,140) (1,051)

Movement in the provision for slow-moving stock

1(m) 1,763 1,484

Balance at the beginning of the year 1,051 1,051

Amounts written off during the year (76) -

9. CULTURAL ASSETS Notes

78 Increase / (decrease) in allowance recognised 165 -

79

Balance at end of the year 1,140 1,051

8. Other financial assets

8. OTHER FINANCIAL ASSETS Notes

Investments at market value

Current assets

2008

$ ’000s

2007

$ ’000s

Managed funds 1(n) 8,433 8,453

Non-current assets

Managed funds 1(n) 28,176 34,157

Investments at market value 16 36,609 42,609

Investments at cost 40,136 39,550

2008

$ ’000s

2007

$ ’000s

Works of art at cost – 25,364

Library works at cost 144 84

Library valuation: 2006 2,739 2,739

Works of art valuation: 2008 1(o) 3,264,827 –

Works of art valuation: 2005 – 2,461,308

2008

Library

at cost

$ '000s

Library

valuation

$ '000s

Works of art

at cost

$ '000s

3,267,710 2,489,495

Works of art

valuation

$ '000s

Total

cultural assets

$ '000s

Carrying amount at start of year 84 2,739 25,364 2,461,308 2,489,495

Additions 60 – 8,623 – 8,683

Transfer of assets – (33,987) 33,987 –

Revaluation increment – – 769,532 769,532

Carrying amount at end of year 144 2,739 – 3,264,827 3,267,710

Revaluation of the National Gallery of Victoria’s library collection was

performed by Sainsbury’s Books Pty Ltd, a member of the Antiquarian

Booksellers Association, on a fair value basis. The valuation was

completed as at 30 June 2006.

2007

Library

at cost

$ '000s

Revaluation of the State Collection of works of art was performed on

a fair value basis by Simon Storey Valuers as at 30 June 2008 and

resulted in a total valuation of $3,264,827,000. Mr Simon Storey,

a director of Simon Storey Valuers is an approved valuer under the

Commonwealth of Australia Taxation Incentives for the Arts Scheme

and a member of the Auctioneers and Valuers Association of Australia.

Library

valuation

$ '000s

Works of art

at cost

$ '000s

Works of art

valuation

$ '000s

Total

cultural assets

$ '000s

Carrying amount at start of year – 2,739 12,207 2,466,564 2,481,510

Additions 84 – 13,157 – 13,241

Deaccessions – – – (250) (250)

Impairments – – – (5,006) (5,006)

Carrying amount at end of year 84 2,739 25,364 2,461,308 2,489,495

Revaluation of the National Gallery of Victoria’s library collection was

performed by Sainsbury’s Books Pty Ltd, a member of the Antiquarian

Booksellers Association on a fair value basis. The valuation was

completed as at 30 June 2006.

Revaluation of the State Collection of works of art was performed on a

fair value basis by Simon Storey Valuers as at 30 June 2005 and resulted

in a total valuation of $2,468,760,000. Mr Simon Storey, a director of

Simon Storey Valuers is an approved valuer under the Commonwealth of

Australia Taxation Incentives for the Arts Scheme and a member of the

Auctioneers and Valuers Association of Australia.


10. Property, plant and equipment

10. Property, plant and equipment Notes

Land

2008

$ ’000s

2007

$ ’000s

At valuation (2007) 1(o) 43,250 43,250

10 Property, plant and equipment (CONT’D)

2008

Land

$ ’000s

Buildings

$ ’000s

Building

fit-out

$ ’000s

Leasehold

improvements

$ ’000s

Plant and

equipment

$ ’000s

Total

$ ’000s

At start of year 43,250 92,153 41,372 7,519 52,294 236,588

Additions – – – – 1,424 1,424

Depreciation expense – (967) (3,651) (930) (4,620) (10,168)

At end of year 43,250 91,186 37,721 6,589 49,098 227,844

Buildings

At valuation (2007) 1(o) 92,153 92,153

Less: accumulated depreciation (967) –

Building Leasehold Plant and

Land Buildings

Total

80 91,186 92,153

2007

fit-out improvements equipment

$ ’000s

$ ’000s

$ ’000s 81

$ ’000s

$ ’000s

$ ’000s

Total land and buildings 134,436 135,403

At start of year 23,807 74,876 44,897 8,523 55,312 207,415

Building fit-out

At cost 54,294 54,294

Less: accumulated depreciation (16,573) (12,922)

Leasehold improvements

37,721 41,372

At cost 13,614 13,614

Less: accumulated depreciation (7,025) (6,095)

Plant and equipment

General plant and equipment

6,589 7,519

At cost 74,079 72,906

Less: accumulated depreciation (24,981) (20,620)

Motor vehicle under finance lease

49,098 52,286

At cost 173 173

Less: accumulated amortisation (173) (164)

– 8

Total plant and equipment 49,089 52,294

Total property, plant and equipment 1(o) 227,844 236,588

Profit / (loss) on disposal of non-current assets

Proceeds on sale of non-current assets – –

Less: carrying amount – (51)

Depreciation charge for the year

– (51)

Buildings 967 768

Building fit-out 3,651 3,642

Leasehold improvements 930 1,033

Plant and equipment 4,620 4,315

1(h) 10,168 9,758

Revaluation of land and buildings to fair value was performed by the Valuer-General Victoria as at 30 June 2007.

Additions – – 117 29 1,424 1,570

Disposals – – – – (51) (51)

Asset write downs – – – – (76) (76)

Depreciation expense – (768) (3,642) (1,033) (4,315) (9,758)

Revaluation increment 19,443 18,045 – – – 37,488

At end of year 43,250 92,153 41,372 7,519 52,294 236,588

Revaluation of land and buildings to fair value was performed by the Valuer-General Victoria as at 30 June 2007.

11. Payables

11. PAYABLEs Notes

2008

$ ’000s

2007

$ ’000s

Trade creditors 1(q) 1,873 3,279

Other creditors and accruals 5,990 6,163

Income in advance 944 1,968

12. Other liabilities

12. Other liabilities Notes

Current

16 8,807 11,410

2008

$ ’000s

2007

$ ’000s

Advance from State Government 875 1,750

Finance lease 20 – 58

875 1,808


13. Provisions

13. PROVISIONS Notes

Current employee benefits

2008

$ ’000s

2007

$ ’000s

Annual leave entitlements 1,483 1,588

Unconditional long service leave entitlements 1,640 1,459

3,123 3,047

Current employee benefits that:

Opening balance 2,754 1,692

82 Are expected to be utilised within 12 months after the end of the reporting period 1,694 1,762

Net increment / (decrement) during the year (2,754) 1,062

83

Are expected to be utilised more than 12 months after the end of the reporting period 1,429 1,285

Closing balance 1(t) (v) – 2,754

Non-current employee benefits

3,123 3,047

Conditional long service leave entitlements 224 199

224 199

Total employee benefits 1(r) 3,347 3,246

14. Equity and movements in equity

14. Equity and movements in equity (CONT’D) Notes

Cultural assets revaluation reserve

2008

$ ’000s

2007

$ ’000s

Opening balance 2,368,650 2,373,656

Increment during the year 769,532 –

Impairments – (5,006)

Closing balance 3,138,182 2,368,650

Available-for-sale revaluation reserve

14.3 Accumulated deficit

1(t)(iv) 3,184,219 2,414,687

3,398,744 2,619,336

Opening balance (16,515) (9,523)

Result for the year 2,835 7,511

Transfer to collection reserve 1(t)(ii) (12,628) (14,043)

Transfer to infrastructure reserve 1(t)(iii) (2) (460)

Closing balance (26,310) (16,515)

14. Equity and movements in equity Notes

14.1 Contributed capital

2008

$ ’000s

2007

$ ’000s

Opening and closing balance 1( t) i) 159,345 159,345

14.2 Movement in reserves

Collection reserve

Opening balance 158,640 144,597

Transfer from accumulated surplus 12,628 14,043

Closing balance 1( t)(ii) 171,268 158,640

Summary of movements in reserves

At start of year

$ '000s

Movements

$ ‘000s

At end of year

$ '000s

Contributed capital 159,345 – 159,345

Collection reserve 158,640 12,628 171,268

Infrastructure reserve 43,255 2 43,257

Asset revaluation reserve 2,414,687 769,532 3,184,219

Available-for-sale revaluation reserve 2,754 (2,754) –

2,619,336 779,408 3,398,744

Accumulated deficit (16,515) (9,795) (26,310)

Infrastructure reserve

Opening balance 43,255 42,795

Transfer from accumulated surplus 2 460

Closing balance 1(t)(iii) 43,257 43,255

Asset revaluation reserve

Land and buildings

Opening balance 46,037 8,549

(Decrement)/increment during the year – 37,488

Closing balance 46,037 46,037

Total equity 2,762,166 769,613 3,531,779

15. Audit fees

15. AUDIT FEES

2008

$ ’000s

2007

$ ’000s

Audit fees paid and payable to the Victorian Auditor-General's Office 41 38


16. Financial instruments

16. Financial instruments (CONT’D)

16.1 Terms, Conditions and Accounting Policies

16.2 Credit Risk

The accounting policies and terms and conditions of each class of financial asset and financial liability at the reporting date are as follows.

Unless otherwise disclosed, the carrying amount of financial instruments is considered to be a reasonable approximation of fair value.

Recognised Financial

Instruments

Financial assets:

Cash and cash equivalents:

Note Accounting Policies Terms and Conditions

Cash at bank and in hand 22 Cash and bank and in hand is carried at its Subject to working capital needs, funds may be

Current 246 708

84 nominal amount.

invested to earn interest.

> 30 days 52 406

85

Bank deposits on call 22 Bank deposits at call are carried at their nominal Bank deposits at call are available on demand

amounts. Related interest revenue is recognised and earn interest.

31–60 days 143 72

when receivable.

> 60 days 263 600

Receivables:

Total 704 1,786

Trade debtors, prepayments 6 Receivables are carried at their nominal amounts Credit sales are generally on 30 day terms. Other

Potential impairment (124) (223)

and other receivables

Other financial assets:

Managed funds (cash,

diversified fixed interest,

equities and listed property)

Financial Liabilities:

Payables — trade creditors,

other creditors and accruals,

income in advance

Other liabilities — advance

from State Government and

finance leases

less any provisions for doubtful receivables. A

provision for doubtful receivables is made when

there is objective evidence that the amounts may

not be collected. Bad debts are written off when

they are known to be uncollectable.

8 Financial assets are classified as being available

for sale and are stated at fair value. Gains and

losses arising from the changes in fair value are

recognised directly in equity until the financial

assets are disposed of or are determined to be

impaired, at which time the cumulative gain or

loss previously recognised in equity is included

in the net result.

11 Payables represent liabilities for goods and services

provided prior to the reporting date which are unpaid

and are carried at their nominal value. Income in

advance arises when monies have been received

but the obligations to which they relate have not

yet been fully discharged and/or relate to a future

reporting period.

12 Other liabilities represent liabilities for goods and

services provided prior to the end of the reporting

date which are unpaid and are carried at their

nominal value. Finance leases effectively transfer

all the risks and benefits incidental to ownership to

the lessee. An asset and liability are established at

the present value of the minimum lease payments

and lease payments are allocated between the

principal component of the lease liability and

the interest expense.

receivables include GST recoverable from the

Australian Tax Office.

The allocation of managed funds between the

classes of assets is in accordance with the

National Gallery of Victoria's current investment

strategy, which distinguishes between funds held in

perpetuity and funds held for the short to medium

term. The former are included in non-current assets

and the latter are included in current assets as it

is not possible to determine with accuracy when

they will be expended. This strategy is implemented

by the National Gallery of Victoria's current fund

manager, the Victorian Funds Management

Corporation, in accordance with the terms and

conditions of the contract between the two parties.

Payables are generally unsecured and paid on

30 day terms, unless otherwise negotiated.

Finance leases are generally secured on the

underlying assets. Advances from Government are

generally interest free and unsecured.

Credit risk arises from the

potential default of a counter party

on their contractual obligations

resulting in financial loss to the

National Gallery of Victoria.

aged profile of trade debtors

At the balance sheet date, the

maximum exposure to credit risk

in relation to financial assets and,

in particular, receivables is the

carrying amount.

The credit risk in relation to trade

debtors is managed through

processes and procedures for the

establishment of credit and the

collecting of overdue amounts.

At the reporting date, the

aged profile of trade debtors

was as follows:

2008

$ ’000s

No material impairment was identified in respect of any other receivables.

There have been no significant changes in the exposure to this risk, or to the processes for managing it, in the current reporting period.

16.3 Liquidity Risk

Liquidity risk arises when

financial obligations cannot be

met as they fall due. The National

Gallery of Victoria manages

this risk through forecasting

and monitoring cashflows and

operating performance.

aged profile of trade CREDITORS

The National Gallery of Victoria's

practice is to pay its trade creditors

within 30 day terms unless

otherwise negotiated. At the

reporting date, the aged profile of

trade creditors was as follows:

2008

$ ’000s

2007

$ ’000s

2007

$ ’000s

Current 576 1,059

>30 days 1,226 1,448

31–60 days 28 698

>60 days 43 74

Total 1,873 3,279

Financial assets subject to significant market risk (see 16.5) are not required to fund unavoidable financial obligations or to provide working capital.

These funds are generally held for the medium to long term and are applied to the purchase of works of art for the State Collection.

16.4 Funding Risk

Funding risk is the risk of overreliance

on a funding source to

the extent that a change in the

funding source could impact on

the operating result for the current

and future years.

A significant portion of the

National Gallery of Victoria’s

revenue is derived from the

State Government of Victoria

or its agencies.

The National Gallery of Victoria

seeks to manage this risk by

generating additional revenue from

its operating activities and from

philanthropic fundraising.

There has been no significant

change in the exposure to

this risk or the strategies for

managing it during the current

reporting period.


16. Financial instruments (CONT’D) 16. Financial instruments (CONT’D)

16.5 Market Risk

Weighted

Fixed interst

Floating

Non–interest

Market risk is the risk that market These funds are invested and The National Gallery of Victoria Taking into account the current

average

maturing in 1

Total

INTEREST RATE RISK

Notes

interest rate

bearing

rates and prices will change and managed in accordance with recognises that market activity, and future economic climate,

effective

year or less

$ ’000s

$ ’000s

$ ’000s

that will affect the operating result the National Gallery of Victoria’s particularly in equities, can

the table below discloses the

interest rate

$ ’000s

or value of assets and liabilities of investment strategy, which

give rise to significant short sensitivity of the National Gallery

2008

the National Gallery of Victoria. includes a variety of equity assets, term volatility in the value of of Victoria’s financial assets

The main exposures to market risk inflation-sensitive assets, income financial assets and this risk is to movements in the pricing of

Financial assets

arise through price risk, interest assets and absolute-return assets accepted and managed within managed investments by shifts

Cash and cash equivalents

rate risk and foreign currency risk. and distinguishes between the the objectives of the investment of +/- 5% and +/- 10%.

— cash at bank and on hand 22 6.00% 1,674 – 62 1,736

The principal financial instruments differing objectives and risk strategy. In the current reporting

affected by these risks are other profiles of funds held for the period, global equity markets

— cash deposits at call 22 7.15% 6,114 – – 6,114

86 87

Receivables 6 n/a – – 1,290 1,290

financial assets, comprising

managed funds.

medium term and for the longer

term. Such assets are stated

at fair value which is generally

approximated by market value.

Gains and losses arising from

the changes in fair value are

recognised in the carrying value

of the assets.

suffered a significant decline with

losses common in most markets,

including Australia. This fall was

reflected in the fair value of the

National Gallery of Victoria’s

financial assets during the

reporting period.

Price risk sensitivity +5% -5% +10% -10%

2008

Financial assets

Carrying Amount

$’000s

Net Result

$’000s

Equity

$’000s

Net Result

$’000s

Equity

$’000s

Net Result

$’000s

Equity

$’000s

Net Result

$’000s

Equity

$’000s

Cash and cash equivalents 7,850 – – – – – – – –

Receivables 1,290 – – – – – – – –

Other financial assets (managed funds) 36,609 1,516 1,516 (1,516) (1,516) 3,032 3,032 (3,032) (3,032)

Total increase/(decrease) 1,516 1,516 (1,516) (1,516) 3,032 3,032 (3,032) (3,032)

2007

Financial assets

Cash and cash equivalents 2,008 – – – – – – – –

Receivables 2,713 – – – – – – – –

Other financial assets (managed funds) 42,609 2,024 2,024 (2,024) (2,024) 4,048 4,048 (4,048) (4,048)

Total increase/(decrease) 2,024 2,024 (2,024) (2,024) 4,048 4,048 (4,048) (4,048)

16.5.1 Interest rate risk

Interest rate risk arises from the

potential of changes in interest

rates to affect the reported result.

A fluctuation in interest rates may

also give rise to changes in the fair

value of financial instruments.

The interest rate risk on cash at

bank and bank deposits at call

is not considered material to the

reported result. The interest rate

risk on cash managed funds is

managed as part of the overall

investment strategy which includes

a variety of equity assets, inflationsensitive

assets, income assets

and absolute-return assets.

The National Gallery of Victoria's

exposure to interest rate risks

and the effective interest rates

of financial assets and financial

liabilities are as follows:

Other financial assets (managed funds)

— cash deposits 8 7.20% 6,269 – – 6,269

— unit trusts (fixed interest) 8 n/a 2,164 2,164

— unit trusts (equities and property) 8 n/a – – 28,176 28,176

Financial liabilities

14,056 – 31,693 45,749

Payables 11 n/a – – (8,807) (8,807)

Advance from Government 12 n/a – – (875) (875)

– – (9,682) (9,682)

Net financial assets/(liabilities) 14,056 – 22,011 36,067

2007

Financial assets

Cash and cash equivalents

— cash at bank and on hand 22 5.00% 1,891 – 91 1,982

— cash deposits at call 22 6.00% 27 – – 27

Receivables 6 – – 2,713 2,713

Other financial assets

— cash deposits 8 6.32% 2,126 – – 2,126

— unit trusts (fixed interest) 8 n/a – – 6,326 6,326

— unit trusts (equities and property) 8 n/a – – 34,157 34,157

Financial liabilities

4,044 – 43,286 47,330

Payables 11 – – (11,410) (11,410)

Advance from Government 12 – – (1,750) (1,750)

Finance lease 12, 20 7.10% – (58) (58)

– (58) (13,160) (13,218)

Net financial assets/(liabilities) 4,044 (58) 30,126 34,112


16. Financial instruments (CONT’D)

17. Superannuation

16.5.1 Interest rate risk (continued)

The sensitivity analysis below discloses the impact on the operating result and equity of changes in interest rates on the National Gallery

of Victoria's financial assets by +/- 50bp and +/- 100bp.

Interest rate risk sensitivity

2008

Carrying Amount

$'000s

+0.5%

(50 basis points)

Net Result

$'000s

Equity

$'000s

–0.5%

(50 basis points)

Net Result

$'000s

Equity

$'000s

+1%

(100 basis points)

Net Result

$'000s

Equity

$'000s

–1%

(100 basis points)

Net Result

$'000s

Equity

$'000s

Financial assets

Cash and cash equivalents 7,850 39 39 (39) (39) 78 78 (78) (78)

17. SUPERANNUATION CONTRIBUTIONS

88 89

Receivables 1,290 – – – – – – – –

Employee

Employer Contribution Contribution

Fund

Plan

contribution contribution for the year for the year

Other financial assets (managed funds) 36,609 – – – – – – – –

rate (%)

rate (%)

2008 $

2007 $

Total increase/(decrease) 39 39 (39) (39) 78 78 (78) (78)

Government Superannuation Office

Defined benefit 9.5 17 88,636 108,638

(Revised Scheme)

2007

Financial assets

Cash and cash equivalents 2,008 10 10 (10) (10) 19 19 (19) (19)

Receivables 2,713 – – – – – – – –

Other financial assets (managed funds) 42,609 – – – – – –

Total increase/(decrease) 10 10 (10) (10) 19 19 (19) (19)

16.5.2 Foreign currency risk

The National Gallery of Victoria

has several staff who are

members of the public sector

superannuation schemes listed

below. As at 30 June 2008, these

schemes were carrying total

liabilities, including liabilities for

members' benefits, in excess of

the value of the schemes' assets.

Government Superannuation Office

(New Scheme)

In line with Government policy, the

unfunded superannuation liabilities

have been reflected in the financial

statements of the Department of

Treasury and Finance.

Defined benefit

Superannuation contributions for

the reporting period are included

as part of employee benefits in the

Operating Statement. There were

no contributions outstanding at

the year end and there have been

no loans made from the funds

(2007 – nil).


3

5

7

8.5

8.8

9.7

10.5

The details of the major employee

superannuation funds and

contributions paid or payable by

the National Gallery of Victoria

are as follows:

91,025 104,111

VicSuper Pty Ltd Defined contribution – 9 1,217,094 935,838

Various other Defined contribution – 9 77,092 25,878

Total 1,473,847 1,174,465

Foreign currency risk arises from

changes in the value of assets

and liabilities denominated in

foreign currencies as exchange

rates fluctuate.

The National Gallery of Victoria

makes purchases and sales in

foreign currencies and reduces

its risk by, wherever practical,

preferring a certain outcome

over an uncertain outcome and

by minimising its exposure to

exchange rate movements.

The National Gallery of Victoria's

investment strategy also allows for

investment in international equities

(hedged and unhedged) and

overseas securities. This foreign

currency risk is managed as part

of the overall investment strategy

which includes a variety of equity

assets, inflation-sensitive assets,

income assets and absolutereturn

assets.

At the year end, payables,

for works of art purchases,

included the following balances

denominated in foreign currencies

USD 1,212,500

Euro 940,000

GBP 20,000

18. Responsible persons disclosures

Responsible persons

During the reporting period the

following people held a position

designated as a "responsible

person", as defined by the

Financial Management Act 1994:

All responsible persons held a

position for the full financial year,

unless otherwise stated.

Ministers:

The Hon. L. Kosky MLA

Trustees who served during the

year were:

Mr R Dewhurst

Mr P Edwards

(appointed 3 June 2008)

Mr V FitzGerald

Mr R Grollo

(resigned 14 March 2008)

Ms M Kelsall

Mr A Myers (President)

Ms A Ndalianis

Ms M Palmer

Mr B Parncutt

Ms M Plavsic

Ms S Smart

(resigned 31 May 2008)

Mr J Sau Lee Yeap

Director:

Dr G Vaughan

No benefits or remuneration were

paid to responsible persons other

than to the Accountable Officer,

the Director of the National Gallery

of Victoria.

Amounts relating to the Minister

are reported in the financial

statements of the Department of

Premier and Cabinet.


18. RESPONSIBLE PERSONS DISCLOSURE (CONT’D)

20. Commitments for expenditure

Remuneration benefits of Executive Officers

The numbers of Executive Officers are shown below in their relevant income bands.

Remuneration bands

Total Remuneration

2008

No.

2007

No.

Base Remuneration

$130,000 – $139,999 – – – 1

$140,000 – $149,999 1 1 1 1

$150,000 – $159,999 1 1 1 2

2008

No.

2007

No.

90 $160,000 – $169,999 – 1 – –

91

$180,000 – $189,999 – – 1 –

$190,000 – $199,999 1 – – –

$220,000 – $229,999 – 1 – –

$230,000 – $239,999 (Accountable Officer) – – – 1

$240,000 – $249,999 (Accountable Officer) – – 1 –

$250,000 – $259,999 (Accountable Officer) – 1 – –

$260,000 – $269,999 (Accountable Officer) 1 – – –

Total numbers 4 5 4 5

Total amount $769,143 $945,846 $713,952 $836,003

20. Commitments for expenditure Notes

Building occupancy services under contract

Expenditure contracted for is payable as follows:

2008

$ ’000s

2007

$ ’000s

Within one year 9,689 14,548

Later than one year but not later than five years 19,485 21,625

Over five years 60,135 63,942

Equipment operating leases

Expenditure contracted for is payable as follows:

89,309 100,114

Within one year 485 426

Later than one year but not later than five years 475 442

Representing:

960 868

Cancellable operating leases 960 868

1(p) 960 868

Related party transactions

There were no related party transactions during the year (2007 - nil).

The National Gallery of Victoria leases certain plant and equipment under operating leases.

Leases of plant and equipment generally provide a right of renewal at which time all terms are renegotiated.

19. Contingent assets and contingent liabilities

As at the 30 June 2008 the National Gallery of Victoria had no known contingent assets or contingent liabilities (2007 – nil).

Finance leases

Commitments in relation to finance leases are payable as follows:

Within one year – 59

Minimum lease payments – 59

Less: future finance charges – (1)

Recognised as a liability – 58

Total lease liabilities – 58

Representing lease liabilities:

Current 1(p) – 58

Minimum future lease payments include any guaranteed residual value.

21. Events occuring after reporting date

There were no significant events occurring after the reporting date in 2008 (2007 – nil).


22. Cash and cash equivalents

Other Statutory Reports

For the purposes of the Balance Sheet and the Cashflow Statement, cash includes cash on hand, cash at bank and bank deposits on call.

22. Cash and cash equivalents Notes

2008

$ ’000s

2007

$ ’000s

Cash at bank and on hand 1(k) 1,736 1,981

Bank deposits on call 6,114 27

1(k) 7,850 2,008

June 2008 226.00 178.00 48.00 207.46 60.80 30.63 237.63 272.31

92 93

23. Note to Cashflow Statement

Reconciliation of net result for the year to net cashflows from operating activities

23. Note to Cashflow Statement

2008

$ ’000s

2007

$ ’000s

Net result for the reporting year 2,835 7,511

Plus:

Depreciation 10,168 9,758

Capital asset charge 3,954 3,858

Cultural assets written down – 250

Increase in provisions for employee entitlements 101 65

Decrease in receivables 1,423 –

Increase in income in advance – 741

Decrease in inventories – 44

Decrease in prepayments and other assets 1,990 –

Assets written down – 76

Net investment loss on managed funds 1,819 –

Less:

19,455 14,792

Donated cultural assets (3,302) (4,493)

Proceeds from the sale of deaccessioned cultural assets (368) –

Increase in receivables – (564)

Increase in prepayments and other assets – (3,392)

Decrease in payables (1,579) (1,171)

Decrease in income in advance (1,024) –

Increase in inventories (279) –

Capital asset charge grant (3,954) (3,858)

Net investment distribution reinvested – (5,390)

(10,506) (18,868)

Net cashflows from operating activities 11,784 3,435

Staff Statistics

The National Gallery of Victoria started the 2007/ 08 financial year with 248.7 full time equivalent head count employees (Note 1)

(Actual Total = 271.89 – Note 2) and ended it with 237.67 (Actual Total = 272.31).

Summary

Notes

Gender

Employees

(Headcount)

Ongoing

2008 2007

FTE

Fixed term

& Casual

Employees

FTE

Employees

(Headcount)

Ongoing

FTE

Fixed term

& Casual

Employees

Male 85 78.43 20.92 80 75.5 21.67

Female 147 133.08 39.88 146 131.96 42.76

Total 232 211.51 60.8 226 207.46 64.43

Age

Under 25 3 2.7 4.56 7 6.7 10.09

25–34 85 75.56 36.76 81 73.19 34.52

35–44 86 78.45 11.33 81 74.05 10.19

45–54 38 36.4 4.04 36 34.9 3.53

55–64 18 16.4 4.11 18 16.2 6.1

Over 64 2 2 0 3 2.42 0

Total 232 211.51 60.8 226 207.46 64.43

Classification

Employees

(Headcount)

In reporting employee numbers,

two measures have been applied:

1 Authorised headcount positions

2 Actual employees on NGV payroll at end

of financial year (including additional

casuals and short term contracts)

Ongoing

Employees

Full Time

(Headcount)

Fixed term &

Casual Employees

TOTAL

(Notes 1 & 2)

Part Time

(Headcount) FTE Employees FTE FTE ACTUAL

June 2007 232.00 181.00 51.00 211.51 64.43 37.19 248.70 271.89

VPS1 8 5.2 5.27 10 6.9 5.28

VPS2 71 59.26 27.91 67 56.71 40.01

VPS3 70 67 12.11 65 62.4 8.54

VPS4 42 40 5.91 44 42.8 5.6

VPS5 22 21.55 7.6 19 18.15 4

VPS6 15 14.5 2 17 16.5 1

Executive 4 4 0 4 4 0

Total 232 211.51 60.8 226 207.46 64.43

FTE


EMPLOYMENT AND

CONDUCT principles

The NGV is committed to ensuring that merit

• Conducting a series of interactive,

organisation-wide staff workshops,

promoting both awareness and engagement

• Negotiated programs. Offering schools the

option of negotiating special programs or

tours based on requests by teachers.

• Shiro Aoyagi, Japanese Calligraphy Master

and artist providing a special demonstration

in the Great Hall for 250 enthusiastic

• NAIDOC week, Reconciliation Week and

Mabo Day providing community based

Indigenous performances, music and artists

NGV Education Regional schools touring

program in collaboration with Regional Arts

Victoria. More than 700 regional secondary

and equity principles are integral to all aspects

of human resource development. Its strategy

in relation to NGV Values — Excellence,

Integrity and Access — and Public Sector

• Cultural Days. Many full day programs with

students participating in a tour, workshop

attendees. The Consul General of Japan in

Melbourne introducing the artist.

talks — activities to celebrate Indigenous

art and culture. In 2008 featuring Karen

school students accessing the NGV and

Regional Arts Victoria’s (RAV) Designers @

for ensuring this includes the:

Values/VPS Code of Conduct. These

and activity.

Case’s artist talk for Reconciliation Week Work workshop exploring the contemporary

• recruitment, selection and

Values are now built into the NGV’s

3. Other NGV School Programs

3. Intercultural Programs

on 1 June, film screening and discussion Australian designer Akira Isogawa.

probation procedures

Performance Appraisal system, induction • Assistance from VicHealth in providing

Developing collaborative programs developed on remembering Mabo on 3 June ,

Designers @ Work offering students an

• induction process

and into each individual role statement to schools with free programs and transport

in conjunction with embassies, consulates and Liz Cavanough’s music performance in

“education through the arts” experience

• grievance resolution process, and

ensure ongoing awareness and support. assistance. Many of these schools

the tertiary sector such as Lettera Amorosa, a May as part of late night opening at

with emphasis on cross-curricula and crosscultural

• performance development and

have students that have recently

1.5 hour tour of the NGV International focussing Federation Square.

teaching and learning. Participating

progression (PDP) system.

b) Valuing cultural diversity

arrived in Australia.

on the theme of love celebrating cultural

students engaging in a virtual tour of Akira’s

School Programs and Cultural Diversity

• Italian tours for adult learning groups, such

diversity through music, readings, art and culture. c) Valuing Women Initiatives

exhibition, investigating ideas, materials

94

Upholding public sector conduct 1. Language Kits available

as COASIT Ladies Committee and the

Highlighting French, Italian, German and Spanish • According to the State Services Authority and techniques, followed by a practical

All National Gallery of Victoria staff

(based on permanent collection)

Ladies Auxiliary of Assisi Centre

works or artists through curator talks, VCA

Workforce Data Collection Report (2007), workshop to design, create and make their

95

are provided with induction and

• Italian – Dove c’e arte (printed resource) (Elderly group).

students’ performances and readings by

the NGV has the highest percentage of

own textile piece.

orientation covering:

• French – Bleu Blanc Rouge

• Education Week Italian Programs

Monash University language students.

females of all the organisations surveyed, • Schools Access Program in collaboration

NGV Values — Excellence, Integrity

(printed resource)

(free programs for students of Italian with

63% of the NGV employees are female. with and supported by VicHealth. The

and Access

• German – Deutsche Kunst Entdecken

funding by DEECD).

4. Conferences, Seminars,

• Ongoing support and provision of flexible Schools Access program providing NGV

• Code of Conduct for the Victorian

Public Sector

(printed resource)

German – German Kit (CD rom)

• Providing tours for English Language

Centres and Schools (primary, secondary,

Forums and Lectures

Developing collaborative programs developed

work arrangements for female staff wishing

to return to work after maternity leave.

based programs for 3,042 primary and

secondary school students (from Prep

• Equal opportunity, discrimination,

Spanish – currently being worked on

tertiary students and adults).

in association with academics, community

to Year 12) who had not visited the NGV

harassment and bullying awareness

(to be a DVD & printed)

• Linking French Teacher evenings with

group leaders and conference convenors e.g. d) Valuing Youth Initiatives

before due to distance or economic

NGV’s grievance process

• Japanese – currently being

exhibitions (collaboration between

Great Beings Seminar celebrating the diversity • Continuing work experience and

circumstances. Schools including 12

• Whistleblower’s Protection

worked on (Interactive Whiteboard

NGV Schools and French Teachers’

of faiths and spirituality — each seminar

internship programs.

Catholic schools and 26 regional schools

Policy and Guidelines

Technology resource)

Association of Victoria)

providing a forum for understanding of the • In excess of 105,000 students and

from areas including Sale, Hadfield,

• Confidentiality and Intellectual

Property Policies

• Indigenous — Currently being

worked on (Interactive Whiteboard

NGV Public Programs / Voluntary

principles and practices of different religions —

Judaism, Buddhism, Zen, Catholicism, Muslim

youth participating in youth-centred

programs and activities.

Corio South, Geelong, Warrnambool,

Carraragaramungee and Myrtleford.

• Financial Code of Practice, and

Technology resource)

Guides and Cultural Diversity

and Christianity. The NGV’s diverse collections • NGV Youth Access and Education

• National Gallery of Victoria and Song

• Other NGV policies.

1. Conducting Guided tours

providing visual imagery used presented in

collaborating with MacKillop Family

Room collaborating on a one day visual

2. Culturally specific Education

• In languages other than English – e.g.

the talks and discussion.

Services to provide free tours and

and performing arts program for schools

Reviewing personal grievances

For the 12 months ending 30 June 2008 there

was one grievance lodged. This was resolved

Tours/workshops

Offering these programs using

both the permanent collection and

Italian, French, Chinese, Japanese and

Dutch for International tourists, community

groups and international visitors

5. Community Events and

NGV Music Programs

workshops for at risk and homeless

youth in conjunction with the youth

exhibition Soul Art.

disadvantaged by distance or economic

hardship. Over 450 students from nine

schools enjoying performances of the

internally, utilising standard Human Resource temporary exhibitions:

• International conference groups

Programs highlighting the history, traditions • Young Ambassadors Valedictory Reception. Warbles in the Great Hall followed by a

processes, with no further action required. • ESL tours for students from non

English speaking backgrounds from

• Group tours with Immigration

Museum Members (organised by

and contemporary contributions of diverse

communities and cultures, showcasing the

Sam Lipski, CEO The Pratt Foundation,

awarding certificates of participation to

gallery tour with educators looking at

iconic works of art.

Responsiveness to cultural

primary to tertiary levels.

Immigration Museum)

significant interplay between art, music,

Christopher Drummond, Sebastian Fransz, • The Arts Centre and National Gallery of

diversity, women, youth and

Indigenous affairs

• Italian LOTE (Full time NGV Italian

Ed Officer offering classes in Italian)

• Tours/bookings for local cultural, social

groups (i.e. All China Women’s Community

language and culture from the past to

present day.

Wendy Gausch, Sebastian Hurlston,

Jessica Loft, Max Milne, Luke Morrison,

Victoria collaborating to provide a whole day

cross arts program Arts Connect 9 for 320

In line with the State Government’s

• French LOTE.

Group, Maltese Historical Assoc.,

• Italian Festival. In conjunction with the

April Schembri, Justin Tumilar and Kerrin year 9 students from regional Victoria.

whole-of-government approach on

• German LOTE.

National Council of Jewish Women)

Melbourne Italian Festival in May 2008,

Walton on the successful completion

agency responsiveness to the issues of

• Chinese and Japanese LOTE

highlighting the history, tradition and

of their 6 month training program and e) Valuing Indigenous Victorians initiatives

multiculturalism, women, youth and Indigenous • Ancient Civilisations tour. Includes Greek, 2. Exhibition Programs

contemporary contributions in Italian art, commencement of engagement with the • Including the representation of Indigenous

affairs, NGV initiatives undertaken in 200708

have included:

Roman, Egyptian, Chinese and

Pre-Columbian.

• Exhibition based and inspired programs

embracing cultural diversity, community

language, music and culture with the Teatro

La Fenice chamber musicians from Venice,

National Gallery of Victoria as the 2007

NGV Young Ambassadors.

artists, academics, performers and

musicians in NGV Education, Public &

• Cross Cultural Landscapes. Comparing

collaboration and public participation. Some

the launch of limited edition books Skin

Members programs.

a) Internal initiatives:

landscapes by Indigenous, colonial

recent exhibitions and programs include:

Surfaces and Shadows by artist/designer

• Dedicated student programs for all year

• Implementing phase two of a

comprehensive leadership development

program, covering the Strategic Leadership

and contemporary Australian artists

with landscapes created by Indigenous

Chinese and Japanese artists.

• Discover India in Melbourne, journeying to

an Indian temple, craft shops and restaurant

all within one hour’s drive of the CBD as

Tommaso Durante and Still work to be done

poems and readings in Italian and English

by Chris Wallace Crabbe.

levels providing insight into the diversity

of Indigenous art, culture, ideas and

thinking through the State collection

Team (SLT) and Senior Management Team • Australian Culture & Identity. Exploring

part of the Krishna program,

• Indonesia Day and Gamelan performance.

and the exhibition program. With NGV

(SMT); provision of individual coaching and

mentoring to senior managers; structured

Skill Development Training workshops and

training programs providing managers with

issues relating to immigration, Australian

history, politics and the impact on Australian

culture. Examining the contributions made

by different cultural groups.

• Chinese Art exhibitions: Golden Screens

and Kim Hoa Tram, providing Chinese

calligraphy workshops, Chinese Puppetry,

Artbus to Chinese Museum in Bendigo,

Hosting this annual community day in

the Great Hall with over 600 attendees

enjoying Gamelan music and performance,

traditional costume.

Indigenous Project Officer, Education &

Curatorial staff, artists and community

representatives presenting.

the skills and knowledge to coach and/or

mentor their staff.

• Indigenous Collection..

Meditation workshops, tea ceremony,

Ikebana demonstrations, and


• Teacher Professional Development

programs utilizing the State collection

and exhibition program to explore, build

knowledge and confidence to discuss and

develop curriculum and teaching strategies.

• Targeted Public Programs raising the profile

of and valuing Indigenous people in the

arts and culture industry through National

Gallery of Victoria forums, artists’ talks,

demonstrations and workshops.

• Youth Access Programs for Indigenous

youth providing free workshops and tours

by NGV Young Ambassadors and the NGV language centre, Wesley College (a program would be caused hardship because he/she had

Department of Sustainability and Environment The number and types of investigations taken over from the NGV

0 0

Indigenous Project Officer.

focused on My Country-My Place) and the to pay the fee. Requests are forwarded to the

to support increasing NGV’s Green Power from by the Ombudsman

96 97

• Youth Forum advising on programs,

Victorian College of Koorie Education. FOI Coordinator, National Gallery of Victoria,

10% to 25% over the next three years.

The number of requests made by a whistleblower to the

0 0

exhibitions and services to attract young • Sites of Communication 3 Symposium. PO Box 7259, Melbourne Vic 3002.

Ombudsman to take over an investigation by the NGV

people to NGV exhibitions, programs

Hosting the third symposium to investigate

b) Water

The number and types of disclosed matters that the NGV has

and events. Forum members include

the evolving role of the art museum, a For the 12 months ending 30 June 2008,

Large reductions in water usage through

0 0

declined to investigate

Indigenous youth.

forum for art museum professionals to one request was received from a Member of

the NGV Water Management Plan, were

The number and types of disclosed matters that were

• Delivering School Programs designed for discuss contemporary issues. Featuring the Parliament and none from the general public. This

significantly boosted with the completion of

substantiated upon investigation and the action taken on

0 0

Indigenous young people in schools with a keynote address on The Cultural Interface request was still under consideration at year end.

works to capture storm water runoff from NGV completion of the investigation

range of programs exploring contemporary which highlighted the complexities of

International for reuse in the irrigation system

Any recommendations made by the Ombudsman that

Indigenous issues, Indigenous art and

the intersection between Indigenous and Environmental Performance

of the Grollo Equiset Garden.

0 0

relate to the public body

culture with the NGV Indigenous Project non-Indigenous positions in relation to Strategic planning for sustainability was a

Officer and Education Officers. In particular,

a continuing program established in

conjunction with the Koorie College of

Education in Glenroy.

• Indigenous Art and Culture Outreach.

Offering schools the following program:

• A professional learning session at NGV

Australia for a group of teachers to enhance

their knowledge and understanding of

traditional and contemporary Indigenous

culture, including a conversation with the

NGV Indigenous Project Officer about

contemporary Indigenous issues and

artistic practice in front of traditional

and contemporary art.

• A student tour of the Indigenous collection

and/or related workshop.

• The NGV Indigenous Project Officer

visiting the school to engage in extended

conversations and presentations for

staff and students.

• VicHealth and NGV Schools Access

Program providing tours and practical

workshops focused on Indigenous art

for ESL students, introducing them to

the significance of the rich diversity of

Australian Indigenous art and culture.

NGV Indigenous Project Officer liaising

directly with schools with Indigenous

students in particular the Victorian College

of Koorie education at Glenroy enabling the

students to participate in an extended visual

art and literacy program viewing significant

artworks from the Indigenous collections

and responding by creating their own

artworks and poetry.

Partnership programs with Melbourne Royal

Botanic Gardens, Koorie Heritage Trust,

One Fire Aboriginal Dance Group, Hawthorn

the Higher Education sector, introducing

the Cultural Interface as an alternate

framework for understanding and engaging

such complexities in the everyday situation

of Indigenous learners. The speaker

being Professor Martin Nakata, Chair of

Australian Indigenous Education, Director of

Jumbunna Indigenous House of Learning,

University of Technology, Sydney. The two

day symposium attended by 213 local,

interstate and international participants

with other speakers featuring presentations

by Indigenous artists in an exploration of

topical themes in relation to Indigenous art

and culture including knowledge transfer,

community projects, exhibition design,

gallery architecture and the environment.

• Children’s/Family trail focusing on the

NGV’s Oceanic Collection in association

with Chookahs the Arts Centre’s Annual

Children’s Festival held in November

2007. The NGV Kids’ Trail Hilhil si the

basket weaver is based on a story told

and sung to the Curator, Sana Balai, when

she was a child growing up at Buka in the

Solomon Islands.

Freedom of Information

The Freedom of Information Act 1982 (FOI)

enables members of the public to obtain

information held by the National Gallery of

Victoria. FOI requests should be made in

writing describing the documents requested

and including payment of the $22.70

application fee and further charges may apply

which can be waived if the request is a routine

request or for access to a document related to

the applicant’s personal affairs. The application

fee can be waived or reduced if the applicant

priority in 200708, particularly in developing

policy and long-term action plans addressing

State Government policies and targets, internal

communications and the creation of data

tracking systems. In 2007 in response to the

State Government’s policy “Our Environment

Our Future” the National Gallery of Victoria

was one of the first arts agencies participating

in Sustainability Victoria’s ResourceSmart

project to develop a corporate environmental

management system.

Finalised in January 2008 the NGV

Environmental Management Framework, a

forward plan for sustainability actions, includes

internal structures and policies as well as

detailed action plans for key areas such as

waste management and green procurement,

going beyond the key energy and water

consumption issues.

a) Energy

The final report of the Government Sustainable

Energy Targets Scheme in 2007 showed that

NGV was meeting, or exceeding, the required

energy reduction targets. Reductions of 19.6%

in electricity use and more than 12 million

litres of water per annum were being achieved,

as well as the purchasing of 10% of NGV’s

electricity as accredited Green Power.

Further energy management initiatives in

the Environmental Management Framework

including a funding arrangement with the

c) Cooperation

We developed an agreement for sustainability

cooperation with Federation Square Pty Ltd,

the landlord of The Ian Potter Centre: NGV

Australia, contained in a formal Building

Management MOU in early 2008, committing

both parties to joint actions and sharing of data

and information.

The National Gallery of Victoria and The Arts

Centre continued to cooperate on energy

efficient shared infrastructure, with emphasis

on The Arts Centre’s high energy consumption

cooling towers and air conditioning services

which support climate control within

NGV International.

Occupational Health and Safety

In 200708, 181 days were lost as a result of

work-related accidents, compared to 261 days

in 2006–07.

The number and types of disclosures made to

NGV during the year

COMPLIANCE WITH BUILDING ACT 1993

In 2007/08, the NGV owned premises at NGV

International, 180 St Kilda Road, Melbourne.

As a tenant the NGV also occupied premises at

the following locations:

— The Ian Potter Centre: NGV Australia,

Federation Square;

— Public Records Office Victoria, 99 Shiel

Street, North Melbourne;

— 513–521 Victoria Street, West Melbourne; and

— The Simcock Avenue store (part of 20–40

Booker Street, Spotswood).

The NGV complied, throughout the year, with all

provisions of the Building Act 1993.

Privacy

NGV has complied with all requirements under

the Information Privacy Act 2000. For the 12

months ending 30 June 2008, there were no

complaints against the National Gallery of

Victoria in relation to breaches of privacy.

Whistleblowers

200708

Number

The Whistleblowers Protection Act 2001

encourages and assists people in making

disclosures of improper conduct by public

officers and public bodies. The Act provides

protection to people who make disclosures

in accordance with the Act and establishes

a system for the matters disclosed to be

investigated and rectifying action to be taken.

The NGV does not tolerate improper conduct

by employees, nor the taking of reprisals

against those who come forward to disclose

such conduct. It is committed to ensuring

transparency and accountability in its

administrative and management practices and

supports the making of disclosures that reveal

corrupt conduct, conduct involving a substantial

mismanagement of public resources, or

conduct involving a substantial risk to public

health and safety or the environment. The

2006–07

Number

Public Interest Disclosures 0 0

Protected Disclosures 2 0

The number of disclosures referred during the year by the NGV to

the Ombudsman for determination as to whether they are public

interest disclosures

The number and types of disclosed matters referred to the NGV

by the Ombudsman for investigation

The number and types of disclosures referred by the NGV to the

Ombudsman for investigation

1 0

0 0

0 0

NGV will take all reasonable steps to protect

people who make such disclosures from any

detrimental action in reprisal for making the

disclosure. It will also afford natural justice to

the person who is the subject of the disclosure.


Reporting procedures

Disclosures of improper conduct or

detrimental action by the National Gallery

of Victoria or its employees may be made

to the following officer:

The Protected Disclosure Coordinator

Ms Leigh Mackay

Head of Corporate Office

Phone: (03) 8620 2392

ATTESTATION ON COMPLIANCE WITH

THE AUSTRALIAN/NEW ZEALAND RISK

MANAGEMENT STANDARD

I, Allan Myers, certify that the Council of

Trustees of the National Gallery of Victoria

has risk management processes in place

consistent with the Australian/New Zealand

Risk Management Standard and that an internal

control system is substantially in place that

enables the executive to understand, manage





details of publications produced by the NGV

about the activities of the NGV and where

they can be obtained;

details of changes in prices, fees, charges,

rates and levies charged by the NGV

for its services, including services that

are administered;

details of any major external reviews carried

out in respect of the operation of the NGV;

details of any other research and

Alternatively, disclosures of improper conduct

or detrimental action by the NGV or its

employees may also be made directly to

and satisfactorily control risk exposures. The

Council of Trustees of the National Gallery

of Victoria is committed to enhancing the

development activities undertaken by

the NGV that are not otherwise covered

either in the Report of Operations or in

Donors

MASTERPIECES

FOR MELBOURNE

The following list salutes the

individuals, families, organisations

and those who wish to remain

anonymous, whose pledges and

gifts have given our Masterpieces

for Melbourne campaign a

tremendous launch.

Cash Gifts to the Art

Acquisition Fund

1 July 2007 – 30 June 2008

The Eugenie Crawford Bequest

Dame Elisabeth Murdoch AC DBE

Estate of Donald Allan Wright

The Warren Clark Bequest

Paula Fox

Morry Fraid & Ruben Fried

Norma Atwell

Duncan Fraser Smith

Hari N Harilela OBE

Joan Macdonald

Irene Sutton

Frederick Woodman

Jean Hadges

Gwendoline Northey

Helen Gory Galerie

Glen Harrington & Robyn Eastham

Jan Minchin

Mark Newman

William Nuttall & Annette Reeves

Andrew Rettig

Brian Sherman AM &

Gene Sherman

Sam Smorgon AO &

98

the Ombudsman.

management of risk and is working towards a document which contains the financial

Marie Theresa McVeigh Trust Richard & Vivienne Reed

Minnie Smorgon

best practice. A particular focus is ensuring a report and Report of Operations;

Leadership Gifts & Pledges Margaret Ross AM

Robert Stevens

Naomi Triguboff Travers

99

The Ombudsman Victoria

comprehensive understanding and appreciation • details of overseas visits undertaken

Loti Smorgon AO & Victor

The Scanlon Foundation

Elizabeth Xipell

Anne Wall-Smith

Level 9, 459 Collins Street (North Tower) of risk management across the organisation, including a summary of the objectives and

Smorgon AC

Michael & Emily Tong

Melbourne VIC 3000

through training and education. The Audit

outcomes of each visit;

Allan Myers AO & Maria Myers AO

Margaret Banks OAM

Peter Bancroft OAM &

Telephone: (03) 9613 6222

Risk and Compliance Committee verifies • details of major promotional, public relations

The Thomas William Lasham Fund Connie Cooke

Marlyn Bancroft

Toll free: 1800 806 314

this assurance and that the risk profile of the and marketing activities undertaken by the

Anonymous

Joe White Bequest

Auret Flower

Andrew Cook

Internet: www.ombudsman.vic.gov.au

Council of Trustees of the National Gallery of NGV to develop community awareness of

Anonymous

Greg & Jennifer Goodman

Anita Hughes

Email: ombudvic@ombudsman.vic.gov.au Victoria has been critically reviewed within the the services provided by the NGV;

William Bowness

Anonymous

Penny Lewisohn

last 12 months.

details of assessments and measures

(Bowness Family)

Harold & Krystyna

Oceapro

Contemporary Art

Further information

undertaken to improve the occupational

Alan & Mavourneen Cowen

Campbell-Pretty

Sonia Popovic

Acquisition Fund

Written guidelines outlining the system for Allan Myers

health and safety of employees, not

Ian Hicks AM

The Orloff Family Charitable Trust Robin Sharwood

Peter Clemenger AM &

reporting disclosures of improper conduct or President

otherwise detailed in the Report of

John Higgins

Jessica Taylor

Joan Clemenger

detrimental action by the NGV or its employees 28 August 2008

Operations;

Bruce Parncutt & Robin Campbell Anne & John Grindrod

Robin Taylor

Vivien Knowles

are available for public perusal.

• a general statement on industrial relations

Jason Yeap & Min Lee Wong Frederick Matear

Phillip Turner

Implementation of the Victorian

within the NGV and details of time lost

Yulgilbar Foundation

Allan Myers AO

Clyde & Deborah Davenport

Disclosures under the

Industry Participation Policy

through industrial accidents and disputes,

Robert & Vicki Smorgon

COLLECTION SUPPORT

Lisa Dethridge

Whistleblowers Protection Act

There are no reportable contracts for 200708. which are not otherwise detailed in the

Ross Adler AC & Fiona Adler Margaret Stones AM MBE

The current procedures established by

Report of Operations; and

Ron & Katie Dewhurst

NGV Contemporary

Supporters of Asian Art

the public body under Part 6 are available Additional information available • a list of NGV’s major committees, the

Peter Griffin AM

Merran Kelsall

Michael & Donna Boyd

Lynton & Susan Morgan

upon request.

on request

purposes of each committee and the extent

Rino Grollo & Diana

Gordon Moffatt AM &

The Myer Family Office

In compliance with the requirements of

to which the purposes have been achieved.

Ruzzene-Grollo

Jacqueline Moffatt

UBS

Asian Art Acquisition Fund

Consultancies

the Standing Directions of the Minister for The information is available on request from:

Dame Elisabeth Murdoch AC DBE Playoust Family Foundation

Paul Cochrane

During the year ending 30 June 2008, the NGV Finance, details in respect of the items listed Ms Leigh Mackay

Michael & Emily Tong

Daniel & Danielle Besen

Mering Corporation

incurred an amount of $735,653 (excluding below have been retained by the NGV and are Head of Corporate Office

Francis & Sue Ebury

Michael & Janet Buxton

Maudie Palmer AO

GST) in respect of 51 consulting engagements. available to the relevant Ministers, Members of Phone: (03) 8620 2392

Vince FitzGerald

Douglas Graham

Sidney & Fiona Myer

Yvonne Perret

No consultants were engaged at an individual Parliament and the public on request (subject Email: information@ngv.vic.gov.au

Merran Kelsall

Richard & Andrea King

Andrew & Judy Rogers

Adrienne Shaw

cost in excess of $100,000 (excluding GST). to the freedom of information requirements, if

Angela Ndalianis

Elizabeth Loftus

Lyn Williams AM

applicable):

Maudie Palmer AO

Robin Matthews

Robyn Burke

Supporters of Decorative Arts

NATIONAL COMPETITION POLICY

• a statement that declarations of pecuniary

Maureen Plavsic

Frank Nadinic

Andrea Candiani

Peter & Ivanka Canet

The NGV is committed to neutrality principles interests have been duly completed by all

Sally Smart

Bruno Charlesworth

Andrew Dixon

ensuring fair and open competition. Many noncore

relevant officers of the NGV;

Thomas Rubie Purcell Bequest Rebecca Clark

Ron & Sally Hood

activities such as cleaning, engineering, • details of shares held by senior officers as

Lisa Sassella

Laurence Cox AO & Julie Ann Cox Diana Morgan

security and food and beverage services have nominee or held beneficially in a statutory

William Stevens

Harry & Susan Curtis

Lisette Stracke

been outsourced through open and competitive authority or subsidiary;

Eva Sweet

Janne Faulkner AM & Bill Faulkner

tender processes.

Peter & Mary Tallis

Diana Fletcher


Decorative Arts

Acquisition Fund

Primrose Bright

Peter & Ivanka Canet

Giles Hunt

Supporters of Indigenous Art

Peter & Carolyn Berger

Leon & Judith Gorr

Tarcisio & Delma Valmorbida

Catherine Allen

Christine Collingwood

Sponsors

Amanda Frith

Juliana Hooper

Jim Cousins AO & Libby Cousins

100 101

Vivien Knowles

Tony & Ann Hyams

Alan & Mavourneen Cowen

William Nuttall & Annette Reeves

Peter & Angelika Zangmeister

Fiona Brockhoff

Stephen & Jenny Charles

Kevin & Margaret Collecutt

Jim Cousins AO & Libby Cousins

Colin & Debbie Golvan

Angela Gunn

Mossgreen Gallery

Harry & Leigh Rundle

Ricci Swart

Tania Brougham

Margaret Bullen

Michael & Carol Casper

Nellie Castan

Terry Cutler

Andrzej & Grazyna Janczewski

Helen Kennan

Colin Laverty OAM &

Elizabeth Laverty

Pam McQueen

Roger Pitt & Deborah Bartlett Pitt

Arthur Roe

Hans Sip

Anthony & Barbara Stolarek

David & Chris Alexander

Australian Decorative & Fine Arts

Society Inc (Sydney)

Angela Berry

Judy Buchan

Patrick Corrigan AM

Laurence Cox AO & Julie Ann Cox

L Gordon Darling AC CMG

Rodney Davis

Roderick Deane

Esther Frenkiel

Jane Guy

Raymond & Mary Hind

Julie Kantor

Anthony & Beverly Knight

Catherine Lewis

Diana Morgan

Rae Rothfield

Steve Rothfield

Lou Senini

Michael Wright

Indigenous Art

Acquisition Fund

Rosie Brennan

Rosalie Freeman

Lilly Harris

Jacqueline Healy

Bernice Stub

Support for NGV Conservation

Susan Morgan

Hugh D T Williamson Foundation

Other

Geoffrey Bartlett

Michael Buxton

Peter Clemenger AM &

Joan Clemenger

Ian George

ANNUAL DINNER 2008

We thank those who generously

supported our Annual Dinner

Ross Adler AC & Fiona Adler

ANZ Private Bank

David Bardas

Lewis & Sally Bell

Terry Campbell AO

Steve & Mary Chiodo

Peter Clemenger AM &

Joan Clemenger

Peter & Tracey Cooper

Mary Crean AM

John & Rose Downer

Peter & Monica Edwards

Vince FitzGerald

Sir James Gobbo AC &

Lady Gobbo

Elizabeth Grainger

Sir Andrew Grimwade CBE &

Lady Grimwade

John & Anne Grindrod

Rino Grollo &

Diana Ruzzene-Grollo

Jean Hadges

Michael & Susie Hamson

Mary Anne Hartley

Ian Hicks AM

Alison Inglis

Barbara Inglis

Will Jones

Elias Jreissati

James & Diana Kimpton

Zara Kimpton

James & Alison Leslie

Lew Foundation

Patricia McKenzie

Beatrice Moignard

Des & Felicity Moore

Lynton & Susan Morgan

Sandy & Sandra Murdoch

Martyn & Louise Myer

Sidney & Fiona Myer

Ray & Mary Lou Orloff

Bruce Parncutt & Robin Campbell

Ross & Pam Paton

John & Suzanne Playfoot

Dug & Lisa Pomeroy

Lady Potter AC

Anthony & Elizabeth Rayward

Philip Ross &

Sophia Pavlovski-Ross

Andrew & Tracey Sisson

Michael Stillwell & Jillian Woinarski

Ralph Ward-Ambler AM &

Barbara Ward-Ambler

Tony & Val Wenzel

Philip & Elizabeth Williams

NGV Partners

Lead Supporter Australian Art

NGV Supporters

Alcoa of Australia

Blue Star Print – Australia

Dulux Australia

Exhibition Support Sponsors

3AW

Abercrombie & Kent

Association of Independent Schools of Victoria

Catholic Education Office

City of Melbourne

Connex

Department of Education & Early Childhood

Development

Lead Supporter International Art

duttondirect.com

Inlink Media

Lavazza

Melbourne Water

Dulux Australia

Ernst & Young

JCDecaux

Lavazza

Melbourne Airport

Mercer

Metlink

Publicis Mojo

Qantas Airways

Sofitel Melbourne on Collins

The Age

Tourism Victoria

Victorian Curriculum and

Assessment Authority

Yarra Trams


Acquisitions

AUSTRALIAN ART

Aboriginal and Torres

Strait Islander Art

Gifts

Kantjupayi Benson (Ngaanyatjarra born c.

1933), Mt Aloyisius 2005, synthetic polymer

paint on canvas. Gift of Michael Moon, 2007

Karen Casey (Hobart born 1956) Allan

Mansell (Palawa born 1957) Janice Murray

102

(Tiwi born 1966) Pedro Wonaemirri (Tiwi Patrons of Indigenous Art, 2007

Art, 2007

Gwyn Hanssen Pigott (born Australia 1935,

Gareth Sansom (born Australia 1939),

#7 1992, from the Polymorphosis series

born 1973) Dulamari (Djalinda Yunupinigu)

lived in England 1958–65, France 1966–72),

1991–92, gelatin silver photographs;

Ricky Maynard (Big River/Ben Lomond born 103

(Gumatj born 1954) Dhuwarrwarr Marika

(Rirratjingu born c. 1946) Garry Namponan

(Wik-Alkan/Wik-Ngathan born 1960)

Leonie Pootchemuka (Wik-Alkan born

1962) Laurel Nannup (Binjareb/Nyoongar

born 1943) Christopher Pease (Minang/

Nyoongar born 1969), Duyfken (Little dove)

portfolio 2006, colour lithograph, lithograph,

photo-offset lithograph, colour etching,

aquatint, linocut, etching, lift-ground aquatint.

Presented by the Embassy of the Kingdom of

the Netherlands, 2007

Samantha Hobson (Kuuku ‘Ya’u born 1981),

Pukali (Wild bamboo) 1999; Stressed out

2000, synthetic polymer paint on canvas. Gift

of Andrew Baker, 2008

Reggie Jackson (Ngaanyatjarra

1935–2007), Ilurrpa 2004, synthetic polymer

paint on canvas. Gift of William James Irvine,

2007; Parrtjartanya 2005, synthetic polymer

paint on canvas. Gift of Michael Moon, 2007

Wally Mandarrk (Dangbon/Dalabon c.

1915–87), Hunters and lizard, earth pigments

on Stringybark. Presented by Mossgreen

Gallery, 2008

Anniebell Marnngamarrnga (Kuninjku born

1968), Yawkyawk 2007, earth pigments,

pandanus. Gift of Mark Chapman, 2008

Lyndsay Bird Mpetyan (Anmatyerr born

c. 1935), Angula country 1988, batik on

silk. Gift of Christopher Hodges and Helen

Eager, 2008

Rosella Namok (Aankum born 1979),

Ngaachi Kincha II (Bora ground) 2000,

synthetic polymer paint on canvas. Gift of

Andrew Baker, 2008

Kathleen Ngal (Anmatyerr born c. 1934),

Anekwetj Mwerrangkerr 2007, synthetic

polymer paint on canvas. Gift of Janet and

Donald Holt, 2008

Tiger Palpatja (Pitjantjatjara born c. 1920),

Wanampi creation story 2007, synthetic

polymer paint on canvas. Gift of Michael

Moon, 2008

Cliff Reid (Ngaanyatjarra born 1947), The

Seven Sisters 2004, synthetic polymer paint

on canvas. Gift of Michael Moon, 2007;

Yulpurru 2004; Minyma Tjirntu 2005, synthetic

polymer paint on canvas. Gift of Michael

Moon, 2008

Taracarijimo Freda Warlapinni (Tiwi born

c. 1923–2003), Pwoja–Pukumani body paint

design 2002, earth pigments on canvas. Gift

of Gabriella Roy, 2008

Yirrwala (Kunwinjku c. 1903–1976),

Mardayin ceremony (c. 1969), earth pigments

on Stringybark. Presented by Mossgreen

Gallery, 2008 Purchases

Vernon Ah Kee (Kuku Yalanji/Yidinyi/

Waanyi born 1967), self-portrait (possesses

some of the attributes of an artist 2007,

charcoal and synthetic polymer paint on

canvas. Purchased, Victorian Foundation for

Living Australian Artists, 2008

Brook Andrew (Wiradjuri born 1970), Gunmetal

grey 2007, screenprint in grey ink on

metallic foil and cotton, ed. 3/3. Purchased,

Victorian Foundation for Living Australian

Artists, 2007

Richard Bell (Jiman/Kooman/Kamilaroi/

Gurang Gurang born 1953), Little Johnny

2001, synthetic polymer paint on canvas.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Ngamaru Bidu (Manyjilyjarra born c. 1944),

Wikirri 2007, synthetic polymer paint on

canvas. Purchased, NGV Supporters and

Jakayu Biljabu (Manyjilyjarra born c. 1937),

Minyi Puru (Seven Sisters); Warrarnpa 2007,

synthetic polymer paint on canvas. Purchased,

NGV Supporters and Patrons of Indigenous

Art, 2007

Johnny Bulunbulun (Ganalbingu born 1946),

Bakarra 2007, etching, ed. 7/20; Body design

2007, etching and drypoint printed in brown

ink, ed. 8/20. Purchased, NGV Supporters

and Patrons of Indigenous Art, 2007

Robert Campbell Junior (Ngaku 1944–93),

Dorrigo Falls 1989, synthetic polymer paint

on canvas. Purchased, NGV Supporters and

Patrons of Indigenous Art, 2007

Craig Charles (Yorta Yorta born 1975), Nan

and pop’s campfire kitchen 2007, synthetic

polymer paint and gold leaf on canvas.

Purchased with funds donated by Judith

and Leon Gorr as the winner of the NGV

acquisitive Prize in conjunction with the

Victorian Indigenous Art Awards, 2007

Nici Cumpston (Barkindji born 1963),

Flooded Gum, Katarapko Creek, Murray

River National Park 2007; Nookamka – Lake

Bonney; Tree stumps, western shoreline –

Nookamka 2007, watercolour and pencil on

colour inkjet print on canvas. Purchased,

Victorian Foundation for Living Australian

Artists, 2008

Julie Dowling (Widi/Noongar born 1969),

Goodbye white fella religion 1992, synthetic

polymer paint, earth pigments and blood on

canvas. Purchased, NGV Foundation, 2007

Milly Kelly (Warnman c.1935), Waru at

Puntawarri 2007, synthetic polymer paint

on canvas. Purchased, NGV Supporters and

Patrons of Indigenous Art, 2007

Kay Lindjuwanga (Kuninjku born 1957),

Mardayin at Dilebang 2006, etching, ed.

12/20; Billabong at Milimilngkan 2007,

etching printed in brown ink, ed. 11/20.

Purchased, NGV Supporters and Patrons of

Indigenous Art, 2007

Birmuyingathi Maali Netta Loogatha

(Kayardild born 1942) Mirdidingkingathi

Jurwunda Sally Gabori (Kayardild

born 1924) Warthadangathi Bijarrba

Ethel Thomas (Kayardild born 1946)

Thunduyingathi Bijarrb May Moodoonuthi

(Kayardild born 1929) Kuruwarriyingathi

Bijarrb Paula Paul (Kayardild born 1937)

Wirrngajingathi Bijarrb Dawn Naranatjil

(Kayardild born 1935)

Rayarriwarrtharrbayingat Amy Loogatha

(Kayardild born 1946), Dulka Warngiid 2007,

synthetic polymer paint on canvas. Purchased

with funds donated by Catherine Allen,

Carolyn Berger and Delma Valmorbida, 2007

Mulyatinki Marney (Manyjilyjarra born c.

1941), Kuwin; Ninyiri Juru (I was born here)

2007, synthetic polymer paint on canvas.

Purchased, NGV Supporters and Patrons of

Indigenous Art, 2007

Dickie Minyintiri (Pitjantjatjara born c. 1915),

Tjukula Tjuta (Waterholes) 2005, synthetic

polymer paint on canvas. Purchased, NGV

Supporters and Patrons of Indigenous

Kate Miwulku (Ndjébbana born 1950),

Borlangunngun 2004, etching printed in

copper ink, ed. 29/30; Dilly bag 2007, etching

printed in black and brown ink, ed. 12/20.

Purchased, NGV Supporters and Patrons of

Indigenous Art, 2007

Lena Skinner Ngal (Anmatyerr, born c.

1930), Untitled 2007, batik on silk. Purchased,

NGV Supporters of Indigenous Art, 2008

Nora Wompi Nungurrayi (Kukatja born

1935), Kunawarritji 2007, synthetic polymer

paint on canvas. Purchased, NGV Supporters

and Patrons of Indigenous Art, 2007

Tiger Palpatja (Pitjantjatjara born c. 1920),

Wanampi creation story 2007, synthetic

polymer paint on canvas. Purchased, NGV

Supporters and Patrons of Indigenous

Art, 2007

Myrtle Petyarr (Anmatyerre born c. 1943),

Untitled 2007, batik on silk. Purchased, NGV

Supporters of Indigenous Art, 2008

Dada Samson (Kartujarra born c. 1933),

Rabbit-proof fence 2007, synthetic polymer

paint on canvas. Purchased, NGV Supporters

and Patrons of Indigenous Art, 2007

Eileen Yaritja Stevens (Pitjantjatjara c.

1919–2008), Piltati 2006, synthetic polymer

paint on canvas. Purchased, NGV Supporters

and Patrons of Indigenous Art, 2007; Piltati

2006, synthetic polymer paint on canvas.

Purchased, NGV Supporters of Indigenous

Art, 2008

Muuki Taylor (Manyjilyjarra born 1945), Paru,

Walpet Road, Kunawarritji Road, Mulakir Road

2007, synthetic polymer paint on canvas.

Purchased, NGV Supporters and Patrons of

Indigenous Art, 2007

Tjapaltjarri, Rockholes and country near

The Olgas 2007, synthetic polymer paint

on canvas. Purchased, NGV Supporters of

Indigenous Art, 2008

Unknown, Broad shield (19th century), wood,

cane. The Evans Collection of Aboriginal

Shields. Purchased with the assistance

of a special grant from the Government of

Victoria, 2008

Mabel Wakarta (Warnman born c. 1920),

Yirrajarra 2007, synthetic polymer paint on

canvas. Purchased, NGV Supporters and

Patrons of Indigenous Art, 2007

Terry Ngamandara Wilson (Gun-nartpa born

c. 1952), Gauchalan at waterhole; Gulach

2007, etching printed in brown ink, ed. 6/20;

Waterhole at Barlparnarra 2007, etching

printed in brown and black ink, ed. 7/20.

Purchased, NGV Supporters and Patrons of

Indigenous Art, 2007

Australian Ceramics

Gifts

Ann Geroe (born England 1934, arrived

Australia 1949), Imperial yellow glaze bowl;

Sang de Boeuf bowl (2002), porcelain. Gift of

Louise Smith, 2008

H. R. Hughan (Australia 1893–1987), Dish

(1945–50), stoneware. Gift of Gwyn Hanssen

Pigott OAM, 2008

Purchases

Still life with seven bottles (2005), porcelain.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Titania Henderson (born the Netherlands

1945, arrived Australia 1956), Untitled 16

(2005), porcelain, porcelain (bone china);

Untitled 9 (2006), porcelain (bone china).

Kenneth Hood Bequest Fund, 2007

Australian Fashion

and Textiles

Gifts

Breathless fashion house (est. 1998)

Rebecca Paterson designer (Australia born

1952), Top and skirt 2002, cotton, metal. Gift

of the artist, 2008

Brighid Lehmann, Melbourne fashion

house (1983–90) Brighid Lehmann

designer (born Hong Kong 1964, arrived

Australia 1966), Suit 1984 summer, linen,

metal; Suit 1986 winter, wool, cotton, metal.

Gift of the artist, 2007

Olga Dawson designer and maker (Australia

1900–72), Outfit; comprising coat, ball gown

and underdress 1956, silk (taffeta), cotton

(organza), metal. Gift of Janet Dawson in

memory of her mother Olga Dawson, 2008

Lucas, Ballarat fashion house (1888–1968)

Pierre Cardin designer (born Italy 1922,

lived in France 1926–), Coat 1960, rayon, silk,

acetate. Gift of Ruth Wrexler, 2008

Martin Grant, Paris fashion house (est.

1992) Martin Grant designer (born Australia

1966, lived in France 1991–), Anna coat

2005–06 autumn-winter, wool, mohair,

silk (grosgrain), polyester; Black shirt dress

2005–06 autumn-winter, wool; Liz dress

2005–06 autumn-winter, silk, cotton,

polyester. Gift of the artist, 2007

Martin Grant Studios, Melbourne fashion

house (1982–89) Martin Grant designer

(born Australia 1966, lived in France

1991–), Outfit comprising black wool jacket

and trousers, white linen shirt (c. 1985),

wool, plastic, linen, mother-of-pearl. Gift of

Emmanuel Hirsh, 2008; Jacket (c. 1986), wool

, polyester; Shirt (c. 1986), polyester, motherof-pearl.

Gift of Robert Buckingham, 2007

Purchases

Beril Jents, Sydney fashion house

(1944–86) Beril Jents designer (born

Australia 1918), Evening dress and stole (c.

1955), silk (chiffon), organdie, metal, plastic,

synthetic fibre, cellophane. Purchased NGV

Foundation, 2008

Roger Kemp (Australia 1908–37)

Victorian Tapestry Workshop, Melbourne

manufacturer (est. 1976), Abstract structure

2007, wool, cotton. Commissioned, NGV

Foundation with funds donated by Dame

Elisabeth Murdoch, 2007

Lucy Secor, Melbourne fashion house

(1922– 80s), Outfit comprising bolero and

day dress (c. 1950), cotton. Purchased NGV

Foundation, 2008

Material By Product, Melbourne fashion

house (est. 2004) Chantal McDonald

designer (born Australia 1976) Susan

Dimasi designer (born Australia 1973),

Outfit comprising couture excesses 200708

autumn-winter, Soft hard harder collection,

wool, viscose, cotton, paint, metal and

plastic; Semi-punch out dress 200708

autumn-winter, Soft hard harder collection,

wool, viscose, cotton, elastane. Purchased,

Victorian Foundation for Living Australian

Artists, 2007

Miss Hartnell, Melbourne fashion house

(c. 1965– c. 1973) Brian Samuels designer

(active in Australia 1960s), Wedding

dress 1969, wool, cotton, polyester, metal.

Purchased NGV Foundation, 2007

Australian Furniture

and Woodwork

Gifts

Schulim Krimper (born Austro-Hungarian

Empire 1893, lived in Germany (1920s)–1938,

arrived Australia 1939, died 1971), Screen (c.

1961), teak (Tectona grandis), brass. Gift of

Judy Arndt and Shirley Klebaner in memory of

Ralph and Erna Winton, 2008

Unknown, Tom Roberts’ painting stool (late

19th century), wood, leather, copper, (other

materials). Gift of Barbara Tucker, 2008

Australian Jewellery

Purchases

Carlier Makigawa (born Australia 1952),

Neckpiece (2007), sterling silver. Purchased,

Victorian Foundation for Living Australian

Artists, 2007

Australian Multimedia

Purchases

Daniel von Sturmer (born New Zealand,

arrived Australia 1993), Tableaux plastique

(Sequence 2) 2008, colour high definition

mpeg2 video file transferred to media player,

silent, LCD monitor, ed. 2/3, 2 min 55 sec;

Tableaux plastique (Sequence 3) 2008, colour

high definition mpeg2 video file transferred

to media player, silent, LCD monitor, ed. 2/3,

20 min 16 sec; Tableaux plastique (Sequence

8) 2008, colour high definition mpeg2 video

file transferred to media player, silent, LCD

monitor, ed. 2/3, 2 min 6 sec. Purchased,

Victorian Foundation for Living Australian

Artists, 2008

Judith Wright (born Australia 1945), One

dances (2003), colour digital betacam, sound,

15 min 23 sec, edition of 6; Conversations

with the mother (2004), colour digital

betacam, sound, 5 min, edition of 6; In praise

of darkness: Conversations with the father

(2006), colour digital betacam, sound, 12 min

50 sec, edition of 6; Between (2007), colour

digital betacam, sound, 8 min, edition of 5;

The stagers 2008, colour digital betacam,

sound, 6 min, edition of 6. Purchased,

Victorian Foundation for Living Australian

Artists, 2008

Australian Painting

Gifts

John Brack (Australia 1920–99) Flowers

(Shasta daisies) 1959, oil on composition

board. Gift of Frank and Yvonne

Nicholls, 2008

Clarice Beckett (Australia 1887–1935)

(Phillip Island from San Remo) (c. 1930–33),

oil on cardboard. Gift of Jennifer Rogers in

memory of her father Ron Lilburne, 2008

Brent Harris (born New Zealand 1956,

arrived Australia 1981), Lands end II 1988, oil

on canvas. Gift of Lauraine Diggins, 2008

Kenneth Hood (Australia 1928–2002),

Abstract — grey and white 1958, oil on

composition board. Gift of Frank and Yvonne

Nicholls, 2008

Erica McGilchrist (born Australia 1926),

(Organic abstraction) 1959, oil on composition

board. Gift of Frank and Yvonne Nicholls, 2008

Justin O’Brien (born Australia 1917, lived in

Italy 1967–96, died 1996), Peter Hatsatouris

(1957), oil on composition board. Bequest of

George Mitchell, 2008

Junior’s brush with Vorticism 2007, oil

and enamel on canvas. Presented by

NGV Members as the winner of the John

McCaughey Memorial Prize, 2008

Edwin Tanner (born Wales 1920, arrived

Australia 1923, died 1980), The fashion

1955, oil on canvas. Gift of Frank and Yvonne

Nicholls, 2008

Blair Trethowan (Australia 1974–2006),

Sweating logos (2000), synthetic polymer

paint and pencil on paper on composition

board. Gift of William Nuttall, 2008

Purchases

Vivienne Binns (born Australia 1940), A

symphony of uncertainties: In memory of

unknown artists and scenes of popular reverie

2005–07, synthetic polymer paint on canvas.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Helen Geier (born Australia 1946, lived in

England 1970–73), A world away 2006 from

the Elements series 2006, oil on canvas.

Purchased with funds donated by the Vivien

Knowles Fund for Contemporary Art, 2007

Neil Haddon (born England 1967, lived in

Spain 1990–96, arrived Australia 1996),

Vestigial (40) 2007, enamel paint on

aluminium. Purchased, Victorian Foundation

for Living Australian Artists, 2008

David Jolly (born Australia 1972), Cinema

(2007); Screen 3 (2008), oil on glass.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Richard Lewer (born New Zealand 1970,

arrived Australia 1997), I’ll be watching

you 2007, synthetic polymer paint on felt

on plywood, metal. Purchased, Victorian

Foundation for Living Australian Artists, 2008

Stieg Persson (born Australia 1959),

Sinister 2006, oil and alkyd resin on canvas.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Margaret Preston (Australia 1875–1963,

lived in Europe 1904–07, 1912–19),

Shoalhaven Gorge, New South Wales (c.

1940–41), oil and gouache on canvas.

Purchased with funds donated from the

Estate of Dr Donald Wright, 2008

Adam Pyett (born Australia 1973), Narcissus

2006; Sunflowers 2007, oil on canvas.

Purchased with funds donated by the Vivien

Knowles Fund for Contemporary Art, 2007

Mary Scott (born Australia 1957), Half

light; If only for an hour 2006, oil on canvas.

Purchased with funds donated by the Vivien

Knowles Fund for Contemporary Art, 2007

David Thomas (born Northern Ireland

1951, arrived Australia 1958), Amid history 2

(Large version) 2006, enamel paint on type C

photograph on aluminium and plastic; Green

and black reflection painting 2007, enamel

paint and synthetic polymer paint on canvas.

Purchased, Victorian Foundation for Living

Australian Artists, 2007

Imants Tillers (born Australia 1950),

Melancholy landscape I (2007), synthetic

polymer paint, metallic paint and gouache

on canvasboards. Purchased, Victorian

Foundation for Living Australian Artists, 2008

John Young (born Hong Kong 1956, arrived

Australia 1967), AD 706, summer/autumn

(2006) from the Painting for spirits series

2005–, colour digital print and oil on canvas.

Purchased with funds donated by Fiona and

Sidney Myer and The Myer Foundation, 2007

Australian Photography

Gifts

Christl Berg (born Germany 1944, lived

in India 1970–84, arrived Australia 1984),

Untitled sequence 1991–92; Polymorphosis

#5; Polymorphosis #6; Polymorphosis

Voices from the kitchen 2007, gelatin silver

photograms. Gift of the artist, 2008

Nicholas Caire (born Channel Islands 1837,

arrived Australia 1858, died 1918), Botanical

Gardens; Three sisters; View of the Yarra River

(c. 1900), gelatin silver photograph. Gift from

the Estate of Edna Bennett, 2007

Rennie Ellis (Australia 1940–2003), The Bee

Gees, Kings Cross (1970–71); Night people

(1975) from the Heroes and anti-heroes series

1976; Cannabis stall Prahran (1976), gelatin

silver photograph. Gift of Kay McKenzie, 2008

Ricky Maynard (Big River/Ben Lomond born

1953), Wik Elder, Gladys (2000) from the

Returning to places that name us series 2000,

gelatin silver photograph. Gift of Milton and

Penny Harris, 2007

Harry Nankin (born Australia 1953),

Fragment 2: The first wave; Fragment 5:

The first wave; Fragment 6: The first wave;

Fragment 7: The first wave; Fragment 8:

The first wave; Fragment 9: The first wave;

Fragment 10: The first wave; Fragment 11:

The first wave Fragment 13: The first wave;

Fragment 14: The first wave; Fragment 15:

The first wave; Fragment 16: The first wave;

Fragment 17: The first wave; Fragment 18:

The first wave; Fragment 19: The first wave;

Fragment 20: The first wave; Fragment 22:

The first wave; Fragment 23: The first wave

1996; Fragment 3: The third wave; Fragment

4: The third wave; Fragment 5: The third wave;

Fragment 6: The third wave; Fragment 7:

The third wave; Fragment 8: The third wave;

Fragment 10: The third wave; Fragment 12:

The third wave; Fragment 13: The third wave;

Fragment 14: The third wave; Fragment 15:

The third wave; Fragment 16: The third wave;

Fragment 17: The third wave; Fragment 18:

The third wave; Fragment 19: The third wave;

Fragment 20: The third wave; Fragment 3:

The fifth wave; Fragment 4: The fifth wave;

Fragment 7: The fifth wave; Fragment 11:

The fifth wave; Fragment 12: The fifth wave;

Fragment 13: The fifth wave; Fragment 14:

The fifth wave; Fragment 15: The fifth wave;

Fragment 16: The fifth wave; Fragment

17: The fifth wave 1997 from THE WAVE

Theoria Sacra Undarum (The sacred theory

of the wave) series 1996–97, gelatin silver

photogram. Gift of the artist, 2007

Sonia Payes (born Australia 1956), James

Gleeson 2006, from the Portraits series

2005–06, type C photograph. Gift of Charles

Nodrum, 2007

Purchases

J. W. Beattie (born Scotland 1859, arrived

Australia 1878, died 1930), No Title (Roald

Amundsen’s ship in Hobart, after the first

successful expedition to Antarctica) 1912,

albumen silver photograph. Purchased NGV

Foundation, 2007

Robyn Beeche (Australian 1945–), Boys

dressed as Krishna & Balaram celebrate

Gopasthami festival, Vrindavan 1988, printed

2007; Holi festival on Rang Bhari Ekadashi,

Vrindavan; Holi festival on Rang Bhari

Ekadash, Vrindavan 1989, printed 2007; Sri

Radharaman Mandir, Phul Bangala offered on

Ekadashi, Vrindavan 1992, printed 2007; Holi

festival at Dauji Temple, Baladev, Vrindavan

2004, printed 2007, type C photograph.

Purchased NGV Foundation, 2007

Pat Brassington (born Australia 1942),

House guest #1; House guest #2 (2007),

colour inkjet print. Purchased, Victorian

Foundation for Living Australian Artists, 2007

Penelope Davis (born Australia 1963), Nonfiction

(red); Shelf (2008) from the fiction-nonfiction

series 200708, type C photograph.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

1953), Wik Elder, Arthur (2000) from the

Returning to places that name us series 2000,

gelatin silver photograph. Purchased, NGV

Supporters of Indigenous Art, 2008

Graham Miller (born Hong Kong 1966,

arrived Australia 1977), Alice 2005; Frank;

Robert 2006; Aina; Rhonda and Chantelle

2007 from the Suburban splendor series

2005–07, colour inkjet print. Purchased,

Victorian Foundation for Living Australian

Artists, 2008

Harry Nankin (born Australia 1953), Of Great

Western tears / Duet 2 2006 from The rain

series 2006–07, gelatin silver photograms.

Purchased NGV Foundation, 2007

Simon Obarzanek (born Israel 1968,

arrived Australia 1974, lived in United States

1995–2001), 10pm – 1am #1; 10pm – 1am

#2; 10pm – 1am #7 (2007) from the 10pm

– 1am series 2007, type C photograph.

Purchased, Victorian Foundation for Living

Australian Artists, 2007

Unknown, No title (Group of people in front

of a crushing plant on a goldfield) (1860s),

ambrotype, embossed leather, wood, velvet,

brass, gilt-metal (case). Purchased NGV

Foundation, 2007

Charles Woolley (Australia 1834–1922)

Charles Woolley, attributed to (Australia

1834–1922), No title (Truganini) and No title

(Shot tower, Taroona, Tasmania), locket (c.

1866–70s), albumen silver photograph, glass,

gold. Purchased NGV Foundation, 2007

Australian Prints

and Drawings

Books — Gifts

Ian Burn (Australia 1939–93) Mel

Ramsden (born England 1944, lived in

Australia 1963–64, United States 1967–79),

Collected works, 1964–71 (1971), artist’s

book: black and white photocopy, 102 pages,

plastic cover, rivet binding. Gift of Robert

Rooney, 2008

Anne Paulson (born England 1808, arrived

Australia 1858, died 1866), Sketches (of

Victorian bush flowers) 1859–61, sketchbook:

watercolour, iron gall ink and pencil, 75 pages,

leather binding. Gift of Kay Rodda, 2008

Robert Rooney editor (born Australia 1937),

Pinocotheca magazine (c. 1971), periodical

publication: black and white photocopy, 43

pages, yellow card cover, staple binding. Gift

of the artist, 2008

Robert Rooney (born Australia 1937),

Words and phrases in inverted commas from

the collected works of IBMR, revised edition.

January 1972 (1972), artist’s book: black and

white photocopy, 6 pages, white card cover,

plastic strip binding. Gift of the artist, 2008


104 105

Books — Purchases

Joseph Lycett (English1774/75–1828,

worked in Australia 1814–22), Views of

Australia or New South Wales & Van Diemen’s

Land, delineated in fifty views… 1824–25,

album: hand-coloured aquatints and etchings,

hand-coloured aquatints and etchings

printed in blue ink, letterpress, engravings,

108 pages, glued and stitched binding,

leather cover with gold tooling. Joe White

Bequest, 2008

Drawings — Gifts

Rick Amor (born Australia 1948), Study for

variable landscape Study for walking by the

sea 2003, watercolour. Commemorating 100

years of the Felton Bequest 1904–2004.

Felton Bequest, 2004

John Brack (Australia 1920–99), Study for

The chase (1959), crayon. Gift of Frank and

Yvonne Nicholls, 2008

Ian Fairweather (born Scotland 1891, lived

in China 1929–36, Asia 1933–43, arrived

Australia 1934, died 1974), Woman (1949),

pen and brush and ink and wash. The Ian

Brown Collection. Gift of the Reverend Ian

Brown, 2008

Peter Corlett (born Australia 1944),

Alfred Felton studies; First concept – Alfred

Felton; (Preliminary drawing for a centenary

sculpture of Alfred Felton); (Preliminary

drawing for a centenary sculpture of Alfred

Felton); (Preliminary drawing for a centenary

sculpture of Alfred Felton) 2003, pencil.

Commemorating 100 years of the Felton

Bequest 1904–2004. Felton Bequest, 2004

Thea Proctor (born Australia 1879, lived

in England 1903–12, 1914–21,died 1966),

1875 (c. 1924), watercolour, gouache and

graphite on paper on cardboard. Gift of Sam

Masters, 2008

Charles Robb (born Australia 1971), A

centenary sculpture of Alfred Felton: Concept

design 1; A centenary sculpture of Alfred

Felton: Concept design 1; A centenary

sculpture of Alfred Felton: Concept design

2; A centenary sculpture of Alfred Felton:

Concept design 2; A centenary sculpture of

Alfred Felton: Concept design 3; A centenary

sculpture of Alfred Felton: Concept design 3

(2003), pencil. Commemorating 100 years

of the Felton Bequest 1904–2004. Felton

Bequest, 2004

Eveline Syme (born England, lived in Europe

1923–31, died 1961), (Leaping figure)

(1929–32); (Reclining model seen from

behind) (1920s), pencil. Gift from the Estate

of Anne Montgomery, 2008

Jessie C. A. Traill (Australia 1881–1967),

View of the Gulf of Carpentaria 1936,

watercolour. Bequest of Prudence

Sheil, 2008

Drawings — Purchases

Sandra Selig (born Australia 1972), No.

52; No. 54; No. 56; No. 58; No. 59; No. 63

2007 from the Universes series 2006–,

enamel paint on spider’s web on black paper.

Purchased with funds donated by the Vivien

Knowles Fund for Contemporary Art, 2007

Unknown, Portrait of Ann Eliza O’Mullane

(mid–late 1850s); Portrait of Dr Arthur

O’Mullane (1850s); Portrait of Mrs Maria

Elizabeth O’Mullane (1870s), watercolour and

gouache on ivory, gilt frame. The Warren Clark

Bequest, 2007

Judith Wright (born Australia 1945), Breathe

1997, synthetic polymer paint and wax on

Japanese paper. Purchased with funds

donated by The Docking Drawing Fund

(NGV), 2008

Prints — Gifts

Clive Murray-White (born England 1946,

arrived Australia 1959), Alfred Felton:

Concept designs; The Alfred Felton sculpture:

Plinth design 2 (2003), computer generated

colour inkjet print. Commemorating 100 years

of the Felton Bequest 1904–2004. Felton

Bequest, 2004

Margaret Preston (Australia 1875–1963,

lived in Europe 1904–07, 1912–19),

Kookaburras (c .1923), hand-coloured

woodcut. The Ian Brown Collection. Gift of the

Reverend Ian Brown, 2008

Fred Williams (Australia 1927–82, lived in

England 1951–56), Forest (1958), etching,

aquatint and engraving printed in black-sepia

ink (on copper), JM170, 1st of 4 states, proof

C; Forest (1958), etching, aquatint and

engraving printed in black-sepia ink (on

copper), JM170, 2nd of 4 states, proof A;

Forest (1958), etching, aquatint and engraving

printed in sepia ink (on copper), JM170, 2nd of

4 states, proof C; Forest (1958), etching,

aquatint and engraving (on copper), JM170,

3rd of 4 states, proof A; Gum tree (1958),

aquatint, engraving, rough biting and drypoint

(on copper), JM168, 1st of 4 states, proof A;

Gum tree (1958), aquatint, engraving, rough

biting and drypoint (on copper), JM168, 2nd

of 4 states, proof A; Gum tree (1958),

aquatint, engraving, rough biting and drypoint

(on copper), JM168, 3rd of 4 states, ed. 2/10;

Gum tree (1958), aquatint, engraving, rough

biting and drypoint (on copper), JM168, 3rd of

4 states, ed. 8/10; Gum tree (1958), aquatint,

engraving, rough biting and drypoint (on

copper), JM168, 4th of 4 states, ed. 5/9; Gum

tree (1958), aquatint, engraving, rough biting

and drypoint (on copper), JM168, 4th of 4

states, ed. 9/9; Gum trees at Colo Vale

(1958), etching, aquatint, engraving and

drypoint (on copper), JM169, 1st of 2 states,

proof A; Mittagong (1958), etching, JM166,

unique state, ed. 1/15; Mittagong (1958),

etching, JM166, unique state, ed. 5/6; Red

trees (1958), etching, aquatint, engraving,

drypoint and flat biting (on copper), JM171,

1st of 3 states, ed. 1/9; Red trees (1958),

etching, aquatint, engraving, drypoint and flat

biting printed in sepia ink (on copper), JM171,

2nd of 3 states, ed. 6/14-2; Red trees (1958),

etching, aquatint, engraving, drypoint and flat

biting (on copper), JM171, 3rd of 3 states,

counterproof 1/8; Red trees (1958), etching,

aquatint, engraving, drypoint and flat biting

(on copper), JM171, 3rd of 3 states,

counterproof 4/8; Rocks and bush, Mittagong

(1958), flat biting, aquatint, engraving and

drypoint (on copper), JM167, 2nd of 4 states,

proof A; Rocks and bush, Mittagong (1958),

flat biting, aquatint, engraving and drypoint

(on copper), JM167, 3rd of 4 states, proof A;

Rocks and bush, Mittagong (1958), flat biting,

aquatint, engraving and drypoint (on copper),

JM167, 4th of 4 states, ed. 1/18; Saplings,

Mittagong (1958), flat biting over lithographic

crayon, aquatint, engraving, drypoint and

scraper (on copper), JM179, 1st of of 4 states,

proof A; Saplings, Mittagong (1958), flat biting

over lithographic crayon, aquatint, engraving,

drypoint and scraper (on copper), JM179, 4th

of 4 states, ed. 1/14; Saplings, Mittagong

(1958), flat biting over lithographic crayon,

aquatint, engraving, drypoint and scraper (on

copper), JM179, 4th of 4 states, ed. 8/14;

Burning log (1958–59), aquatint, engraving,

etching and drypoint (on copper), JM172, 1st

of 3 states, proof A; Hill at Colo Vale

(1958–59), aquatint, engraving, drypoint and

flat biting (on copper), JM173, unique state,

ed. 12/22; Landscape with a steep road

(1959), aquatint, etching, drypoint, engraving

and rough biting (on copper), JM174, 3rd of 5

states, ed. 6/8; Landscape with a steep road

(1959), aquatint, etching, drypoint, engraving

and rough biting (on copper), JM174, 4th of 5

states, proof B; The forest pond (1959–60),

etching, aquatint, engraving and drypoint (on

copper), JM177, 4th of 4 states, ed. 5/25; The

forest pond (1959–60), etching, aquatint,

engraving and drypoint (on copper), JM177,

4th of 4 states, ed. 19/25; The forest pond

(1959–60), etching, aquatint, engraving and

drypoint (on copper), JM177, proof;

Landscape with a building (1959–60),

aquatint, etching, drypoint, engraving and flat

biting (on copper), JM178, 2nd of 3 states, ed.

3/12; Landscape with a building (1959–60),

aquatint, etching, drypoint, engraving and flat

biting (on copper), JM178, 3rd of 3 states, ed.

9/16; Pond in Sherbrooke Forest (1959–60),

aquatint, etching, engraving, drypoint and

rough biting (on copper), JM175, 5th of 5

states, ed. 5/8; The St George River, Lorne

(1959–60), etching, aquatint, engraving and

drypoint (on copper), JM176, 2nd of 4 states,

proof A; The St George River, Lorne

(1959–60), etching, aquatint, engraving and

drypoint (on copper), JM176, 3rd of 4 states,

proof A; The St George River, Lorne

(1959–60), etching, aquatint, engraving and

drypoint (on copper), JM176, 4th of 4 states,

ed. 9/30; Waterfalls (1959–61), relief etching,

engraving and drypoint (on copper), JM180,

2nd of 4 states, proof A; Waterfalls

(1959–61), relief etching, engraving and

drypoint printed in sepia ink (on copper),

JM180, 3rd of 4 states, proof A; Echuca

landscape (1961), drypoint, engraving and

aquatint (on copper), JM185, 2nd of 16 states,

proof A; Echuca landscape (1961), drypoint,

engraving and aquatint (on copper), JM185,

10th of 16 states, proof A; Echuca landscape

(1961), drypoint, engraving and aquatint

printed in sepia ink (on copper), JM185, 15th

of 16 states, ed. 4/30-2; Echuca landscape

(1961), drypoint, engraving and aquatint (on

copper), JM185, 16th of 16 states, ed. 2/65;

The forest pond number 2 (1961), aquatint,

engraving and rough biting (on copper),

JM181, 3rd of 3 states, proof A; The forest

pond number 2 (1961), aquatint, engraving

and rough biting (on copper), JM181, 3rd of 3

states, ed. 2/8; Landscape (1961), aquatint,

engraving and flat biting touched with ink (on

zinc), JM188, 1st of 2 states, ed. 3/12;

Landscape (1961), aquatint, engraving and flat

biting (on zinc), JM188, 2nd of 2 states, ed.

1/12; Sandstone Hill number 1

(1961),aquatint, engraving and drypoint (on

copper), JM182, 1st of 2 states, ed. 10/20;

Sandstone Hill number 1 (1961), aquatint,

engraving and drypoint (on copper), JM182,

1st of 2 states, ed. 20/20; Sandstone Hill

number 1 (1961), aquatint, engraving and

drypoint printed in sepia ink (on copper),

JM182, 2nd of 2 states, ed. 1/30-2;

Sandstone Hill number 2 (1961), aquatint,

engraving, drypoint and rough biting (on

copper), JM183, 2nd of 3 states, ed. 2/10;

Sandstone Hill number 2 (1961), aquatint,

engraving, drypoint and rough biting (on

copper), JM183, 3rd of 3 states, proof A;

Sapling forest (1961), aquatint, engraving and

drypoint printed in sepia ink (on copper),

JM184, 1st of 4 states, proof A; Sapling forest

(1961), aquatint, engraving and drypoint

printed in sepia ink (on copper), JM184, 1st of

4 states, counterproof A; Sapling forest

(1961), aquatint, engraving and drypoint (on

copper), JM184, 1st of 4 states, counterproof

C; Sherbrooke Forest number 1 (1961),

engraving, aquatint and rough biting (on

copper), JM186, 6th of 23 states, proof A;

Sherbrooke Forest number 1 (1961),

engraving, aquatint and rough biting (on

copper), JM186, 10th of 23 states, ed. 2/20;

Sherbrooke Forest number 1 (1961),

engraving, aquatint and rough biting printed in

sepia ink (on copper), JM186, 23rd of 23

states, ed. 10/14; Sherbrooke Forest number

1 (1961), engraving, aquatint and rough biting

printed in brown ink (on copper), JM186, 23rd

of 23 states, ed. 6/35; Sherbrooke Forest

number 2 (1961), engraving and aquatint (on

copper), JM187, 2nd of 8 states, proof A;

Sherbrooke Forest number 2 (1961),

engraving and aquatint printed in sepia ink (on

copper), JM187, 4th of 8 states, edition: proof

A; Sherbrooke Forest number 2 (1961),

engraving and aquatint (on copper), JM187,

6th of 8 states, proof A; Sherbrooke Forest

number 2 (1961), engraving and aquatint (on

copper), JM187, 6th of 8 states, ed. 2/25;

Sherbrooke Forest number 2 (1961),

engraving and aquatint (on copper), JM187,

7th of 8 states, proof A; Sherbrooke Forest

number 2 (1961), engraving and aquatint (on

copper), JM187, 8th of 8 states, ed. 1/30;

Cosmos in the garden diptych (1962), etching,

aquatint, engraving and drypoint printed in

sepia ink (on two zinc plates), JM133, 2nd of 2

states, ed. 2/20; Cosmos in the garden

diptych, (right-hand panel) (1962), etching,

aquatint, engraving and drypoint (on zinc),

JM133A, only state, ed. 3/65; Fallen tree

(1962), etching, engraving, aquatint and

drypoint (on copper), JM192, 3rd of 4 states,

proof A; Forest at Almerton number 2 (1962),

aquatint, etching, engraving and drypoint (on

copper), JM190, 2nd of 4 states, proof A;

Forest at Almerton number 2 (1962), aquatint,

etching, engraving and drypoint (on copper),

JM190, 4th of 4 states, ed. 5/12; Forest at

Almerton number 2 (1962), aquatint, etching,

engraving and drypoint (on copper), JM190,

4th of 4 states, ed. 7/12; Kallista (1962), deep

etching and engraving (on zinc), JM193, only

state, ed. 19/24. Gift of Lyn Williams AM,

2007; Landscape diptych number 2 (1962),

sugar aquatint, engraving and drypoint printed

in sepia ink (on zinc), JM203, 7th of 9 states,

proof A; Landscape diptych number 3 (1962),

sugar aquatint, engraving and drypoint printed

in sepia ink, JM204, only state, ed. 8/15. Gift

of Lyn Williams AM, 2008; Landscape panel

number 1 (1962), sugar aquatint, engraving

and drypoint printed in sepia ink (on zinc),

JM200A, 1st of 3 states, ed. 4/30; Landscape

panel number 1 (1962), sugar aquatint,

engraving and drypoint (on zinc), JM200A,

3rd of 3 states, ed. 2/20; Landscape panel

number 1 (1962), sugar aquatint, engraving

and drypoint (on zinc), JM200A, 3rd of 3

states, ed. 6/20; Landscape panel number 2

(1962), sugar aquatint, engraving and drypoint

printed in sepia ink (on zinc), JM200B, 1st of

3 states, ed. 5/30; Landscape panel number 2

(1962), sugar aquatint, engraving and drypoint

(on zinc), JM200B, 3rd of 3 states, ed. 1/6;

Landscape panel number 2 (1962), sugar

aquatint, engraving and drypoint (on zinc),

JM200B, 3rd of 3 states, ed. 1/22;

Landscape panel number 2 (1962), sugar

aquatint, engraving and drypoint (on zinc),

JM200B, 3rd of 3 states, ed. 7/22;

Landscape panel number 2 (1962),sugar

aquatint, engraving and drypoint (on zinc),

JM200B, 3rd of 3 states, ed. 8/22;

Landscape panel number 2 (1962), sugar

aquatint, engraving and drypoint (on zinc),

JM200B, 3rd of 3 states, counterproof 1/16;

Landscape panel number 2 (1962), sugar

aquatint, engraving and drypoint (on zinc),

JM200B, 3rd of 3 states, counterproof 3/16;

Landscape panel number 3 (1962), sugar

aquatint, engraving and drypoint printed in

sepia ink (on zinc), JM200C, 2nd of 3 states,

proof B; Landscape panel number 3 (1962),

sugar aquatint, engraving and drypoint

touched with printing ink (on zinc), JM200C,

3rd of 3 states, proof A; Landscape panel

number 3 (1962), sugar aquatint, engraving

and drypoint (on zinc), JM200C, 3rd of 3

states, ed. 1/22; Landscape panel number 3

(1962), sugar aquatint, engraving and drypoint

(on zinc), JM200C, 3rd of 3 states, ed. 22/22;

Landscape panel number 3 (1962), sugar

aquatint, engraving and drypoint (on zinc),

JM200C, 3rd of 3 states, counterproof 6/6;

Landscape panel number 4 (1962), aquatint,

drypoint and engraving (on copper), JM201A,

2nd of 2 states, ed. 13/15; Landscape panel

number 4 (1962), aquatint, drypoint and

engraving (on copper), JM201A, 2nd of 2

states, ed. 15/15; Landscape panel number 5

(1962), aquatint, drypoint and engraving (on

copper), JM201B, 5th of 5 states, ed. 9/22;

Landscape panel number 5 (1962), aquatint,

drypoint and engraving (on copper), JM201B,

5th of 5 states, ed. 16/22; Landscape panel

number 6 (1962), aquatint, drypoint and

engraving (on copper), JM201C, 4th of 4

states, ed. 5/20; Landscape panel number 6

(1962), aquatint, drypoint and engraving (on

copper), JM201C, 4th of 4 states, ed. 16/20;

Landscape panel number 6 (1962), aquatint,

drypoint and engraving (on copper), JM201C,

4th of 4 states, ed. 20/20. Gift of Lyn

Williams AM, 2007; Landscape panel number

9 (1962), sugar aquatint, engraving and

drypoint printed in sepia ink (on zinc),

JM204A, only state, ed. 3/10; Landscape

panel number 10 (1962), aquatint, engraving,

drypoint and flat biting (on zinc) on grey paper,

JM205, 1st of 2 states, proof A; Landscape

panel number 10 (1962), aquatint, engraving,

drypoint and flat biting (on zinc) on grey paper,

JM205, 2nd of 2 states, ed. 6/24; Landscape

quartette (1962), sugar aquatint, resin

aquatint, engraving and drypoint (on copper

and zinc), JM202, 1st of 2 states, proof B;

Landscape quartette (1962), sugar aquatint,

resin aquatint, engraving and drypoint (on

copper and zinc), JM202, 2nd of 2 states, ed.

1/35. Gift of Lyn Williams AM, 2008;

Landscape triptych number 1 (1962), sugar

aquatint, engraving and drypoint printed in

sepia ink (on three zinc plates), JM200, 1st of

4 states, ed. 13/35; Landscape triptych

number 1 (1962), sugar aquatint, engraving

and drypoint (on three zinc plates), JM200,

4th of 4 states, proof B; Landscape triptych

number 1 (1962), sugar aquatint, engraving

and drypoint printed in sepia ink (on three zinc

plates), JM200, 4th of 4 states, ed. 2/8;

Landscape triptych number 2 (1962), aquatint,

engraving and drypoint printed in sepia ink (on

copper plates printed edge to edge), JM201,

2nd of 5 states, proof A; Landscape triptych

number 2 (1962), aquatint, engraving and

drypoint printed in sepia ink (on copper plates

printed edge to edge), JM201, 3rd of 5 states,

proof A; Landscape triptych number 2 (1962),

aquatint, engraving and drypoint printed in

sepia ink (on copper plates printed edge to

edge), JM201, 4th of 5 states, ed. 7/17;

Landscape triptych number 2 (1962), aquatint,

engraving and drypoint printed in sepia ink (on

copper plates printed edge to edge), JM201,

4th of 5 states, proof A; Landscape triptych

number 2 (1962),aquatint, engraving and

drypoint printed in sepia ink (on copper plates

printed edge to edge), JM201, 5th of 5 states,

ed. 4/25; Lilies (1962), aquatint, drypoint and

engraving (on copper), JM134, 2nd of 14

states, proof A; Lilies (1962), aquatint,

drypoint and engraving (on copper), JM134,

3rd of 14 states, proof A; Lilies (1962),

aquatint, drypoint and engraving (on copper),

JM134, 5th of 14 states, proof A; Lilies

(1962), aquatint, drypoint and engraving (on

copper), JM134, 6th of 14 states, proof A;

Lilies (1962), aquatint, drypoint and engraving

(on copper), JM134, 8th of 14 states, edition:

proof A; Lilies (1962), aquatint, drypoint and

engraving (on copper), JM134, 9th of 14

states, proof A; Lilies (1962), aquatint,

drypoint and engraving (on copper), JM134,

10th of 14 states, proof A; Lilies (1962),

aquatint, drypoint and engraving (on copper),

JM134, 12th of 14 states, proof A; Lilies

(1962), aquatint, drypoint and engraving (on

copper), JM134, 14th of 14 states, proof B;

Saplings (1962), aquatint, drypoint and

engraving (on copper), JM191, 1st of 9 states,

proof A; Saplings (1962), aquatint, drypoint

and engraving (on copper), JM191, 2nd of 9

states, proof A; Saplings (1962), aquatint,

drypoint and engraving (on copper), JM191,

3rd of 9 states, proof A; Saplings (1962),

aquatint, drypoint and engraving (on copper),

JM191, 4th of 9 states, ed. 2/5; Saplings

(1962), aquatint, drypoint and engraving (on

copper), JM191, 5th of 9 states, proof A;

Saplings (1962), aquatint, drypoint and

engraving (on copper), JM191, 6th of 9 states,

proof B; Saplings (1962), aquatint, drypoint

and engraving (on copper), JM191, 7th of 9

states, proof A; Saplings (1962), aquatint,

drypoint and engraving (on copper), JM191,

9th of 9 states, ed. 2/20; Saplings (1962),

aquatint, drypoint and engraving (on copper),

JM191, 9th of 9 states, ed. 18/20; Sherbrooke

Forest number 3 (1962), aquatint and

engraving (on zinc), JM194, 2nd of 4 states,

proof A; Sherbrooke Forest number 3 (1962),

aquatint and engraving (on zinc), JM194, 2nd

of 4 states, counterproof A; Sherbrooke Forest

number 3 (1962), aquatint and engraving

printed in sepia ink (on zinc), JM194, 4th of 4

states, proof A; Sherbrooke Forest number 3

(1962), aquatint and engraving printed in

sepia ink (on zinc), JM194, 4th of 4 states, ed.

1/20-2; Sherbrooke Forest number 4 (1962),

aquatint and engraving (on zinc), JM195, 3rd

of 3 states, ed. 6/9; Sherbrooke Forest

number 5 (1962), aquatint, drypoint, engraving

and flat biting (on zinc), JM196, 1st of 2

states, ed. 6/14; Sherbrooke Forest number 5

(1962), aquatint, drypoint, engraving and flat

biting (on zinc), JM196, 2nd of 2 states, proof

P; Sherbrooke Forest number 6 (1962),

drypoint, aquatint and engraving (on copper),

JM197, only state, ed. 8/18; Sherbrooke

Forest number 6 (1962), drypoint, aquatint

and engraving (on copper), JM197, only state,

proof B; Sherbrooke Forest number 8 (1962),

aquatint, etching, drypoint and engraving

printed in sepia ink (on brass), JM199, 1st of 4

states, proof A; Sherbrooke Forest number 8

(1962), aquatint, etching, drypoint and

engraving printed in sepia ink (on brass),

JM199, 4th of 4 states, ed. 1/15; Hakea

(1963), etching, aquatint, engraving and

drypoint printed in sepia ink (on zinc), JM135,

2nd of 5 states, proof A; Hakea

(1963),etching, aquatint, engraving and

drypoint (on zinc), JM135, 4th of 5 states,

proof A; Hakea (1963), etching, aquatint,

engraving and drypoint (on zinc), JM135, 5th

of 5 states, proof B; Hakea (1963), etching,

aquatint, engraving and drypoint (on zinc),

JM135, 5th of 5 states, proof C. Gift of Lyn

Williams AM, 2007; Knoll in the You Yangs

(1963–64), aquatint, engraving, drypoint,

deep etching and flat biting (on zinc), JM208,

14th of 18 states, proof B; You Yangs

landscape 1 (1963–64), aquatint, engraving

and drypoint printed in sepia ink (on copper),

JM206, 3rd of 5 states, proof B; You Yangs

landscape 1 (1963–64), aquatint, engraving

and drypoint printed in sepia ink (on copper),

JM206, 4th of 5 states, proof B; You Yangs

pond (1963–64), etching, aquatint, engraving

and drypoint (on copper), JM207, 1st of 8

states, proof A; You Yangs pond (1963–64),

etching, aquatint, engraving and drypoint (on

copper), JM207, 2nd of 8 states, proof B; You

Yangs pond (1963–64), etching, aquatint,

engraving and drypoint (on copper), JM207,

3rd of 8 states, proof A; You Yangs pond

(1963–64), etching, aquatint, engraving and

drypoint (on copper), JM207, 4th of 8 states,

ed. 11/20; You Yangs pond (1963–64),

etching, aquatint, engraving and drypoint (on

copper), JM207, 8th of 8 states, ed. 3/30; You

Yangs pond (1963–64), etching, aquatint,

engraving and drypoint (on copper), JM207,

8th of 8 states, proof A; You Yangs landscape

number 2 (1963–66), etching, engraving and

drypoint (on copper), JM209, 3rd of 5 states,

ed. 25/30; You Yangs landscape number 2

(1963–66), etching, engraving and drypoint

(on copper), JM209, 4th of 5 states, ed. 1/9;

You Yangs landscape number 3 (1963–66),

etching, drypoint, rough biting, flat biting and

mezzotint rocker (on copper), JM218, 3rd of 3

states, ed. 1/15; You Yangs landscape number

3 (1963–66), etching, drypoint, rough biting,

flat biting and mezzotint rocker (on copper) on

grey paper, JM218, 3rd of 3 states, ed. 2/15;

You Yangs landscape 1 (1964), aquatint,

engraving and drypoint (on copper), JM206,

5th of 5 states, ed. 19/30; You Yangs

landscape 1 1964, aquatint, engraving and

drypoint printed in sepia ink (on copper),

JM206, 5th of 5 states, proof A. Gift of Lyn

Williams AM, 2008; Daniel Smith (1964–65),

etching, flat biting and drypoint (on copper),

JM143, 1st of 2 states, counter proof; Daniel

Smith (1964–65), etching, flat biting and

drypoint (on copper), JM143, 2nd of 2 states,

proof B; Isobel being held (1964–65), etching,

drypoint, flat biting and engraving (on copper),

JM137, 1st of 3 states, proof A; Isobel being

held (1964–65), etching, drypoint, flat biting

and engraving (on copper), JM137, 2nd of 3

state, proof A; Isobel being held (1964–65),

etching, drypoint, flat biting and engraving (on

copper), JM137, 3rd of 3 states, ed. 4/16;

Isobel in her playsuit (1964–65), etching,

drypoint and flat biting (on copper), JM144,

2nd of 5 states, proof B; Isobel in her playsuit

(1964–65), etching, drypoint and flat biting

(on copper), JM144, 4th of 5 states, ed. 1/15;

Isobel in her playsuit (1964–65), etching,

drypoint and flat biting (on copper), JM144,

4th of 5 states, proof A; Isobel in her playsuit

(1964–65), etching, drypoint and flat biting

(on copper), JM144, 4th of 5 states, ed. 5/15;

Isobel in her playsuit (1964–65), etching,

drypoint and flat biting (on copper), JM144,

5th of 5 states, ed. 2/18; Isobel in her playsuit

(1964–65), etching, drypoint and flat biting

(on copper), JM144, 5th of 5 states, ed.

11/18; Isobel in her playsuit (1964–65),

etching, drypoint and flat biting (on copper),

JM144, 5th of 5 states, counterproof ed.

2/14; James Mollison (1964–65), etching,

engraving, flat biting and mezzotint rocker (on

copper), JM138, 1st of 3 states, proof B;

Mandy Smith (1964–65), etching and flat

biting (on copper), JM140, unique state, proof

B; Marigold Smith (1964–65), etching,

engraving and flat biting (on copper), JM139,

2nd of 2 states, ed. 3/10; Martin Smith

(1964–65), etching, engraving and drypoint

(on copper), JM141, 2nd of 4 states, proof B;

Martin Smith (1964–65), etching, engraving

and drypoint (on copper), JM141, 3rd of 4

states, proof A; Martin Smith (1964–65),

etching, engraving and drypoint (on copper),

JM141, 4th of 4 states, ed. 8/11; Rhonda

Senbergs (1964–65), etching and flat biting

(on copper), JM136, 2nd of 3 states, proof A;

Rhonda Senbergs (1964–65), etching and flat

biting (on copper), JM136, 3rd of 3 states, ed.

7/12. Gift of Lyn Williams AM, 2007; Burning

tree stump, path and trees (1965), drypoint (on

copper), JM234, 1st of 6 states, proof B;

Burning tree stump, path and trees (1965),

drypoint (on copper), JM234, 2nd of 6 states,

ed. 23/30; Burning tree stump, path and trees

(1965), drypoint (on copper), JM234, 3rd of 6

states, ed. 4/30; Burning tree stump, path and

trees (1965), drypoint (on copper), JM234, 4th

of 6 states, ed. 29/30; Burning tree stump,

path and trees (1965), drypoint (on copper),

JM234, 5th of 6 states, ed. 30/30; Burning

tree stump, path and trees (1965), rough biting

and drypoint (on copper), JM234, 6th of 6

states, ed. 12/30; Burning tree stump, path

and trees (1965), rough biting and drypoint

(on copper) on grey paper, JM234, 6th of 6

states, ed. 3/16; Gil Jamieson painting at

Lysterfield (1965), drypoint and etching (on

copper), JM233, 2nd of 2 states, ed. 1/18; Gil

Jamieson painting at Lysterfield (1965),

drypoint and etching (on copper), JM233, 2nd

of 2 states, ed. 11/18. Gift of Lyn Williams

AM, 2008; Isobel, in full face (1965), etching,

engraving, drypoint, flat biting and rough

biting (on copper), JM146, only state, proof B.

Gift of Lyn Williams AM, 2007; Leaping fox

(1965), drypoint, engraving and flat biting (on

copper), JM236, 2nd of 2 states, ed. 2/10;

Lysterfield landscape number 1 (1965),

etching, engraving and drypoint (on copper),

JM215, 2nd of 3 states, A proof D; Chopped

trees (1965–66), etching, sugar aquatint and

engraving (on copper), JM226, 2nd of 2

states, ed. 2/16; Chopped trees (1965–66),

etching, sugar aquatint and engraving (on

copper) on grey paper, JM226, 2nd of 2

states, ed. 13/16; Chopped trees (1965–66),

etching, sugar aquatint and engraving (on

copper), JM226, 2nd of 2 states, proof 3;

Chopped trees (1965–66), etching, sugar

aquatint and engraving (on copper), JM226,

2nd of 2 states, proof 8; Circle landscape,

Upwey (1965–66), etching, deep etching, flat

biting, engraving, drypoint, mezzotint rocker,

aquatint and electric hand engraving tool (on

zinc), JM221, 1st of 6 states, proof 3/9; Circle

landscape, Upwey (1965–66), etching, deep

etching, flat biting, engraving, drypoint,

mezzotint rocker, aquatint and electric hand

engraving tool (on zinc), JM221, 1st of 6

states, proof 8/9; Circle landscape, Upwey

(1965–66), etching, deep etching, flat biting,

engraving, drypoint, mezzotint rocker, aquatint

and electric hand engraving tool (on zinc),

JM221, 3rd of 6 states, ed. 2/20; Circle

landscape, Upwey (1965–66), etching, deep

etching, flat biting, engraving, drypoint,

mezzotint rocker, aquatint and electric hand

engraving tool (on zinc), JM221, 4th of 6

states, ed. 1/40; Circle landscape, Upwey

(1965–66), etching, deep etching, flat biting,

engraving, drypoint, mezzotint rocker, aquatint

and electric hand engraving tool (on zinc),

JM221, 4th of 6 states, ed. 31/40; Circle

landscape, Upwey (1965–66), etching, deep

etching, flat biting, engraving, drypoint,

mezzotint rocker, aquatint and electric hand

engraving tool (on zinc), JM221, 5th of 6

states, ed. 1/5; Circle landscape, Upwey

(1965–66), etching, deep etching, flat biting,

engraving, drypoint, mezzotint rocker, aquatint

and electric hand engraving tool (on zinc) on

grey paper, JM221, 5th of 6 states, ed. 2/5;

Circle landscape, Upwey (1965–66), etching,

deep etching, flat biting, engraving, drypoint,

mezzotint rocker, aquatint and electric hand

engraving tool (on zinc), JM221, 6th of 6

states, ed. 1/9; First variation of You Yangs

landscape number 1 (1965–66), etching,

engraving, drypoint and flat biting (on copper),

JM210, 3rd of 3 states, ed. 4/21; Forest of

gum trees (1965–66), deep etching, flat biting

and mezzotint rocker (on zinc), JM237, 1st of

6 states, proof 2/4; Forest of gum trees

(1965–66), deep etching, flat biting and

mezzotint rocker (on zinc), JM237, 2nd of 6

states, ed. 8/35; Forest of gum trees

(1965–66), deep etching, flat biting and

mezzotint rocker (on zinc) on grey paper,

JM237, 4th of 6 states, ed. 1/5; Forest of gum

trees (1965–66), deep etching, flat biting and

mezzotint rocker (on zinc), JM237, 4th of 6

states, ed. 2/5; Gum trees in landscape,

Lysterfield (1965–66), etching, aquatint, sugar

aquatint, drypoint and touched with printing

ink (on copper) on grey paper, JM223, 4th of

4 states, ed. 8/8; Hillside at Lysterfield

(1965–66), etching, engraving, drypoint and

flat biting (on zinc), JM239, 3rd of 5 states,

proof A; Hillside at Lysterfield (1965–66),

etching, engraving, drypoint and flat biting (on

zinc), JM239, 5th of 5 states, ed. 2/10;

Hillside at Lysterfield (1965–66), etching,

engraving, drypoint and flat biting (on zinc),

JM239, 5th of 5 states, ed. 9/10; Hillside

landscape, Lysterfield (1965–66), etching, flat

biting, mezzotint rocker and drypoint (on zinc),

JM238, 2nd of 3 states, ed. 4/30; Hillside

landscape, Lysterfield (1965–66), etching, flat

biting, mezzotint rocker and drypoint (on zinc),

JM238, 3rd of 3 states, ed. 2/20; Hillside

landscape, Lysterfield (1965–66), etching, flat

biting, mezzotint rocker and drypoint (on zinc)

on grey paper, JM238, 3rd of 3 states, ed.

3/20; Hillside number 1 (1965–66), etching,

aquatint, drypoint and mezzotint rocker (on

copper), JM224, 2nd of 3 states, ed. 1/25;

Hillside number 1 (1965–66), etching,

aquatint, drypoint and mezzotint rocker (on

copper), JM224, 3rd of 3 states, ed. 13/18;

Hillside number 2 (1965–66), etching, flat

biting, drypoint and mezzotint rocker (on zinc),

JM240, 2nd of 3 states, ed. 4/20; Hummock

and gum tree (1965–66), etching, aquatint,

engraving and drypoint (on copper), JM220,

2nd of 4 states, proof A; Hummock and gum

tree (1965–66), etching, aquatint, engraving

and drypoint (on copper) on grey paper,

JM220, 4th of 4 states, proof A; Hummock in

landscape (1965–66), etching, aquatint,

engraving and mezzotint rocker (on copper),

JM219, 2nd of 3 states (unique proof in this

state), proof A; Hummock in landscape

(1965–66), etching, aquatint, engraving and

mezzotint rocker (on copper), JM219, 3rd of 3

states, ed. 1/20; Mountain landscape number

1 (1965–66), etching, engraving and flat

biting (on copper) on grey paper, JM235, 1st

of 2 states, ed. 1/8; Mountain landscape

number 1 (1965–66), etching, engraving and

flat biting (on copper), JM235, 1st of 2 states,

ed. 6/8; Oval landscape (1965–66), sugar

aquatint, engraving and drypoint (on zinc),

JM242, 1st of 5 states, proof 3/3; Oval

landscape (1965–66), sugar aquatint,

engraving and drypoint (on zinc), JM242, 2nd

of 5 states, proof 2/5; Oval landscape

(1965–66), sugar aquatint, engraving and

drypoint (on zinc), JM242, 3rd of 5 states,

proof 5/7; Oval landscape (1965–66), sugar

aquatint, engraving and drypoint (on zinc),

JM242, 5th of 5 states, ed. 2/18; Ponds,

Lysterfield (1965–66), etching, aquatint,

engraving, sugar aquatint and flat biting (on

copper), JM225, 2nd of 3 states, ed. 14/16;

Ponds, Lysterfield (1965–66), etching,

aquatint, engraving, sugar aquatint and flat

biting (on copper), JM225, 3rd of 3 states, ed.

6/20; Second variation of You Yangs

landscape number 1 (1965–66), etching and

drypoint (on copper), JM211, 1st of 2 states,

ed. 20/30; Upwey landscape number 1

(1965–66), etching, engraving and flat biting

(on copper), JM217, 2nd of 3 states, ed.

26/30; Upwey landscape number 1

(1965–66), etching, engraving and flat biting

(on copper) on grey paper, JM217, 3rd of 3

states, ed. 7/14; Upwey landscape number 2

(1965–66), etching, aquatint, rough biting and

mezzotint rocker (on copper), JM228, 3rd of 4

states, ed. 1/5; Upwey landscape number 2

(1965–66), etching, aquatint, rough biting and

mezzotint rocker (on copper) on grey paper,

JM228, 4th of 4 states, ed. 1/17; Upwey

landscape number 2 (1965–66), etching,

aquatint, rough biting and mezzotint rocker

(on copper), JM228, 4th of 4 states, ed. 7/17;

Upwey landscape number 4 (1965–66),

etching, aquatint, engraving, mezzotint rocker

and flat biting (on copper) on grey paper,

JM230, only state, ed. 1/25; Upwey

landscape number 4 (1965–66), etching,

aquatint, engraving, mezzotint rocker and flat

biting (on copper) on grey paper, JM230, only

state, ed. 6/25; Upwey landscape number 4

(1965–66), etching, aquatint and touched in

pencil (on copper), JM230, only state,

uncatalogued proof; Upwey landscape

number 5 (1965–66), etching, aquatint rough

biting and engraving (on copper) on grey

paper, JM231, 3rd of 3 states, ed. 2/21. Gift

of Lyn Williams AM, 2008; Visitors at Upwey

(1965–66), etching and drypoint (on copper),

JM151, only state, ed. 4/18. Gift of Lyn

Williams AM, 2007; You Yangs landscape

number 3 (1965–66), etching, drypoint, rough

biting, flat biting and mezzotint rocker (on

copper), JM218, 2nd of 3 states, proof B;

Scrub at Lilydale (1965–67), etching, aquatint,

engraving drypoint and flat biting (on copper),

JM227, 4th of 4 states, proof F; Decorative

panel, You Yangs number 1 (1966), etching,

drypoint, flat biting and mezzotint rocker (on

copper), JM212, 2nd of 2 states, ed. 2/20;

Decorative panel, You Yangs number 2 (1966),

etching, engraving, aquatint, drypoint, flat

biting and mezzotint rocker (on copper) on

grey paper, JM213, 2nd of 2 states, ed. 11/14;

Decorative panel, You Yangs number 3 (1966),

etching, engraving, flat biting and mezzotint

rocker (on copper), JM214, 2nd of 2 states,


ed. 3/25; Decorative panel, You Yangs number 3rd of 5 states, ed. 2/6; Fallen tree, circular

GEORGE JONES & SONS, Stokeon-Trent,

Staffordshire manufacturer

manufacturer (England est. 1793) Alboine (est. 1982) Domenico DOLCE designer (1981–84) Vivienne WESTWOOD designer

MINTON, Stoke-on-Trent, Staffordshire DOLCE & GABBANA, Italy fashion house WORLD’S END, London manufacturer International Prints

3 (1966), etching, engraving, flat biting and plate (1967), etching, aquatint, engraving and INTERNATIONAL ART

and Drawings

mezzotint rocker (on copper), JM214, 2nd of 2 drypoint (on zinc), JM246, 4th of 5 states,

(England 1873 –1951), Bough pot (c. 1880),

BIRKS decorator (England 1861–1941), Plate (born Italy 1958) Stefano GABBANA

(born England 1941–) Malcolm McLAREN

states, ed. 5/25;

ed. 1/16; Fallen tree, circular plate (1967),

earthenware. Gift of Dr Robert Wilson and

1905, porcelain (pâte-sur-pâte). Gift of Dr designer (born Italy 1962), Necklace (c. designer (born England 1946–), Bra 1982–83

First variation of You Yangs landscape number etching, aquatint, engraving and drypoint Asian

Colin Lane, 2008

Robert Wilson and Colin Lane, 2008

1993), polycarbonate, plastic, metal. Gift of autumn-winter, Nonstalgia of mud collection,

1 (1966), etching, engraving, drypoint and flat (on zinc) on grey paper, JM246, 5th of 5

John and Suzanne Playfoot, 2008

polyester, cotton (lining), metal, leather.

biting (on copper), JM210, 2nd of 3 states, ed. states, ed. 4/14; First Rothbury label (1967),

MEISSEN PORCELAIN FACTORY,

Bernard MOORE designer (England

Purchased NGV Foundation, 2008

17/30. Gift of Lyn Williams AM, 2008; Frog etching, rough biting, burnishing and roulette Gifts

Meissen manufacturer (Germany est. 1710)

1853–1935), Vase (1905–15), earthenware. EMILIO PUCCI, Florence fashion house

Books — Gifts

Roger CUTFORTH (English 1944–, worked

(1966), drypoint (on copper), JM156, only (on zinc), JM248, 2nd of 3 states, proof 1/1.

Johann Joachim KÄNDLER designer

Gift of Dr Robert Wilson and Colin

(est. 1944) Emilio PUCCI designer (Italy

in United States 1967–), Work from 1968

state, ed. 31/36; Hal Hattam (1966), etching, Gift of Lyn Williams AM, 2008; Tumblers GUJARATI, Odhni (Woman’s head scarf) (late (Germany 1706–75), Pair of parrots (c. 1738)

Lane, 2008

1914–92), Ensemble comprising top and

to 1971 (1968–71), artist’s book: black and

drypoint and mezzotint rocker (on copper), number 2 (1967), etching, deep etching, flat 19th century), silk, gold thread. Gift of Michael

International Multimedia

designed, (c. 1745) manufactured, porcelain

skirt (c. 1967), printed silk. Gift of John and

white photocopies, 41 pages, plastic cover,

JM155, 1st of 4 states, proof B; Hal Hattam biting, drypoint and mezzotint rocker (on zinc), Abbott, 2008

(hard-paste). Gift of Mr Peter Wynne

WORCESTER ROYAL PORCELAIN

Suzanne Playfoot, 2007

plastic strip binding; April (1969), artist’s

(1966), etching, drypoint and mezzotint rocker JM163, 1st of 5 states, proof A Tumblers

Morris, 2007

COMPANY, Worcester manufacturer

Purchases

book: black and white photocopies, 30 pages,

(on copper), JM155, 2nd of 4 states, ed. 2/6; number 2 (1967), etching, deep etching, flat JAPANESE, Stem table 1540–50, laquer on

(England est. 1862), Vase 1877, porcelain ENGLISH ECCENTRICS, London fashion

plastic cover, plastic strip binding; Thermal –

Hal Hattam (1966), etching, drypoint and biting, drypoint and mezzotint rocker (on zinc), wood (Negoro lacquer). Presented by The MEISSEN PORCELAIN FACTORY,

(bone china). Gift of Dr Robert Wilson and house (est. 1982) Helen LITTMAN designer Yinka SHONIBARE (English 1962–) A landscape (March) (1969), artist’s book: black

mezzotint rocker (on copper), JM155, 2nd of JM163, 1st of 5 states, proof B; Tumblers Yulgilbar Foundation, 2008

Meissen manufacturer (Germany est. 1710),

Colin Lane, 2007

(born England 1955), Necktie, Neoclassic masked ball (Un ballo in maschera) (2004), and white photocopies, 31 pages, plastic

4 states, ed. 4/6; Hal Hattam (1966), etching, number 2 (1967), etching, deep etching, flat

Rustic cottage (c. 1745), porcelain (hardpaste).

Gift of Mr Peter Wynne Morris, 2007

WORCESTER ROYAL PORCELAIN

Anthony Knight, 2007

print 1992 spring-summer, silk. Gift of

colour digital video, sound, 32 min, edition of cover, plastic strip binding. Gift of Robert

drypoint and mezzotint rocker (on copper), biting, drypoint and mezzotint rocker (on zinc), KANO Eino (Japanese 1631–97), Birds and

6. Purchased with funds donated by Joan and Rooney, 2008

JM155, 3rd of 4 states, proof A; Hal Hattam JM163, 1st of 5 states, ed. 10/20; Tumblers flowers of the four seasons (17th century), pair

COMPANY, Worcester manufacturer

Peter Clemenger AM, 2008

(1966), etching, drypoint and mezzotint rocker number 2 (1967), etching, deep etching, flat of six panel folding screens: ink, gold paint MINTON, Stoke-on-Trent, Staffordshire

(England est. 1862) James HADLEY

MEXICO, Waistcoat 1969, leather (suede).

(on copper), JM155, 3rd of 4 states, proof B. biting, drypoint and mezzotint rocker (on zinc), and pigments on gold leaf on paper, lacquer manufacturer (England est. 1793), Teapot

designer England (c. 1837–1903), Vase 1880, Gift of Christine Graunas, 2008

Bill VIOLA

Drawings — Gifts

Gift of Lyn Williams AM, 2007; Landscape in JM163, 1st of 5 states, ed. 17/20; Tumblers on wood, paper, silk, metallic thread, brass. stand (c. 1810), porcelain. Gift of Dr Robert

porcelain. Gift of Dr Robert Wilson and Colin

American 1951– still from Ocean without

Upwey (1966), etching, engraving, drypoint number 2 (1967), etching, deep etching, flat Presented by The Yulgilbar Foundation, 2008 Wilson and Colin Lane, 2008; Lidded vase

Lane, 2007

a shore 2007, three channel colour high

Purchases

Charles PERCIER (French 1764–1838,

and mezzotint rocker (on copper), JM216, biting, drypoint and mezzotint rocker (on zinc),

(1840); Pair of plates 1874, porcelain (bone

definition video transferred to computer hard

106 worked in Italy 1786–91) Pierre-François-

RAJASTHANI, Pilgrim’s necklace depicting

drive, sound, plasma screen monitors, 90

107

3rd of 3 states, ed. 7/18. Gift of Lyn Williams

AM, 2008; Picnic at Yellingbo (1966), etching,

engraving, drypoint, foul biting and mezzotint

rocker (on copper), JM153, 1st of 5 states,

ed. 1/12; Picnic at Yellingbo (1966), etching,

engraving, drypoint, foul biting and mezzotint

rocker (on copper), JM153, 1st of 5 states,

proof B; Picnic at Yellingbo (1966), etching,

engraving, drypoint, foul biting and mezzotint

rocker (on copper), JM153, 1st of 5 states,

proof C; Picnic at Yellingbo (1966), etching,

engraving, drypoint, foul biting and mezzotint

rocker (on copper), JM153, 1st of 5 states,

maculature; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 3rd of

5 states, proof A; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 4th of

5 states, proof B; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 5th of

5 states, ed. 2/7; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 5th of

5 states, ed. 4/7; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 5th of

5 states, ed. 6/7; Picnic at Yellingbo (1966),

etching, engraving, drypoint, foul biting and

mezzotint rocker (on copper), JM153, 5th of

5 states, counterproof B; Young girl number

3 (1966), etching (on copper), JM159, only

state, ed. 28/30; Young girl number 3 (1966),

etching (on copper), JM159, only state, ed.

29/30; Young girl number 4 (1966), etching,

engraving and flat biting (on copper), JM 160,

1st of 4 states, proof A; Young girl number

4 (1966), etching, engraving and flat biting

(on copper), JM160, 2nd of 4 states, artist’s

proof; Young girl number 4 (1966), etching,

engraving and flat biting (on copper), JM160,

3rd of 4 states, counterproof A; Young girl

number 5 (1966), etching and engraving

(on copper), JM161, 1st of 3 states, proof

A; Young girl number 5 (1966), etching and

engraving (on copper), JM161, 1st of 3 states,

counterproof A; Young girl number 5 (1966),

etching and engraving (on copper), JM161,

2nd of 3 states, counterproof A; Young girl

number 5 (1966), etching and engraving (on

copper), JM161, 3rd of 3 states, counterproof

A; Young girl number 6 (1966), etching,

engraving and flat biting (on copper), JM162,

only state, ed. 1/16. Gift of Lyn Williams AM,

2007; Chopped trees, Lysterfield (1966–67),

etching, aquatint, drypoint and flat biting (on

zinc) on grey paper, JM245, only state, ed.

16/25; Chopped trees, Lysterfield (1966–67),

etching, aquatint, drypoint and flat biting (on

zinc), JM245, only state, ed. 22/25; Circular

hillside landscape (1966–67), etching,

engraving, drypoint and mezzotint rocker

(on copper), JM244, 2nd of 3 states, ed.

3/10; Circular hillside landscape (1966–67),

etching, engraving, drypoint and mezzotint

rocker (on copper) on grey paper, JM244,

3rd of 3 states, ed. 1/10; Fallen tree, circular

plate (1967), etching, aquatint, engraving and

drypoint (on zinc), JM246, 1st of 5 states,

proof A; Fallen tree, circular plate (1967),

etching, aquatint, engraving and drypoint

(on zinc), JM246, 2nd of 5 states, proof B;

Fallen tree, circular plate (1967), etching,

aquatint, engraving and drypoint (on zinc) and

pencil, JM246, 3rd of 5 states, ed. 1/6; Fallen

tree, circular plate (1967), etching, aquatint,

engraving and drypoint (on zinc), JM246,

JM163, 1st of 5 states, ed. 19/20; Tumblers

number 2 (1967), etching, deep etching, flat

biting, drypoint and mezzotint rocker (on

zinc), JM163, 1st of 5 states, counterproof

A; Tumblers number 2 (1967), etching, deep

etching, flat biting, drypoint and mezzotint

rocker (on zinc), JM163, 1st of 5 states,

counterproof C; Tumblers number 2 (1967),

etching, deep etching, flat biting, drypoint

and mezzotint rocker (on zinc), JM163, 1st of

5 states, counterproof D; Tumblers number

2 (1967), etching, deep etching, flat biting,

drypoint and mezzotint rocker (on zinc),

JM163, 3rd of 5 states, proof B; Tumblers

number 2 (1967), etching, deep etching, flat

biting, drypoint and mezzotint rocker (on zinc),

JM163, 4th of 5 states, proof A; Tumblers

number 2 (1967), etching, deep etching, flat

biting, drypoint and mezzotint rocker (on zinc),

JM163, 5th of 5 states, ed. 11/30; Tumblers

number 2 (1967), etching, deep etching, flat

biting, drypoint and mezzotint rocker (on zinc),

JM163, 5th of 5 states, ed. 23/30; Tumblers

number 2 (1967), etching, deep etching, flat

biting, drypoint and mezzotint rocker (on zinc),

JM163, 5th of 5 states, ed. 25/30. Gift of Lyn

Williams AM, 2007; Canberra triptych (1970),

drypoint and electric hand engraving tool

(on copper) printed in sepia ink, JM250, 2nd

of 2 states, proof 2/3. Gift of Lyn Williams

AM, 2008

Prints — Purchases

Neil Emmerson (born Australia 1956), (I

was his…) 2005, etchings, synthetic polymer

paint and vinyl lettering on composition board.

Purchased, Victorian Foundation for Living

Australian Artists, 2008

Margaret Preston (Australia 1875–1963,

lived in Europe 1904–07, 1912–19), Aboriginal

design – The hunt 1940, hand-coloured

woodcut. Purchased with funds donated from

the Estate of Dr Donald Wright, 2008

Australian Sculpture

Gifts

Clive Murray-White (born England 1946,

arrived Australia 1959), Maquette for the Alfred

Felton centenary sculpture (2003), marble.

Commemorating 100 years of the Felton

Bequest 1904–2004. Felton Bequest, 2004

Charles Robb (born Australia 1971),

Maquette for the Alfred Felton centenary

sculpture (2003), synthetic polymer paint

on fibreglass. Commemorating 100 years

of the Felton Bequest 1904–2004. Felton

Bequest, 2004

the Hindu god Krishna in the form of Sri Nathji;

Pilgrim’s necklace depicting the Hindu god

Krishna in the form of Sri Nathji (19th century),

paint on paper, metal, cotton. Gift of Michael

Abbott, 2008

SUMBANESE, Man’s ceremonial cloth

(Hinggi) (c. 1890), cotton, dyes. Bequest of

Rose Mulock-Houwer MBE, 2007

WU Zuoren (Chinese 1908–97), Pandas

and bamboo 1964, album: ink on paper, 8

paintings, cardboard, paper, silk and gold

leaf on concertina glued binding. Gift of an

anonymous donor, 2007

Purchases

BIHARI, A nautch dancing girl with a musician;

Two musicians (c. 1860), opaque watercolour

and gold paint on paper (Company style).

Purchased NGV Foundation, 2007

JAPANESE, Incense container (early 16th

century), lacquer on wood (Kamakura- bori

lacquer). Purchased with funds donated by

the The Yulgilbar Foundation, 2008

JAPANESE, Horse stable (early 17th century),

six panel screen: ink, pigment and gold paint

on paper, lacquer on wood, silk, paper, metal.

Purchased, Allan and Maria Myers Fund for

the Acquisition of Asian Art, 2008

KOREAN, Dragon jar Choson dynasty

(18th century), porcelain. Purchased, NGV

Foundation, NGV Supporters of Asian Art and

the Lillian Ernestine Lobb Bequest, 2007

Kim Hoa TRAM (Chinese 1959–, worked

in Australia 1984–), Lost one’s way (Mitu);

Returning home (Guitu) 2005, ink on paper.

Purchased, NGV Supporters of Asian

Art, 2008

International

Decorative Arts

Gifts

Karl BERTSCH designer (Germany

1873–1933) DEUTSCHE WERKSTÄTTEN

FÜR HANDWERSKUNST DRESDEN-

HELLERAU UND MÜNCHEN, Munich

manufacturer (Germany 1907–34),

Armchair; Chair (c. 1910), oak, cane; Table

(c. 1910), oak, glass. Bequest of Wolfgang

Sievers, 2008

Marcel BREUER designer (Hungary/

Germany/United States 1902–81)

ISOKON FURNITURE COMPANY,

London manufacturer (England 1935– c.

1982), Long chair 1935–36 designed, (c.

1962) manufactured, laminated plywood,

polyurethane, wool. Gift of Grietje Croll, 2007

DERBY CROWN PORCELAIN CO., Derby

manufacturer (England 1876–90), Pair of

vases 1883, porcelain (bone china). Gift of Dr

Robert Wilson and Colin Lane, 2008

china). Gift of Dr Robert Wilson and Colin

Lane, 2007; Plaque (1876), earthenware. Gift

of Dr Robert Wilson and Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) William

MUSSILL decorator (France/England

1826–1906), Pair of lidded moonflasks 1877,

earthenware. Gift of Dr Robert Wilson and

Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Richard

PILSBURY decorator (England 1830–97),

Plaque 1877, earthenware. Gift of Dr Robert

Wilson and Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793), Pair of

fireplace slabs 1879, porcelain. Gift of Dr

Robert Wilson and Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Désiré

LEROY decorator (England 1840–1908)

DAVIS COLLAMORE & CO., New York

retailer (United States 1861– c. 1920), Pair of

plates 1884, porcelain (bone china). Gift of Dr

Robert Wilson and Colin Lane, 2007

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793), Flask (c.

1885), porcelain (pâte-sur-pâte). Gift of Dr

Robert Wilson and Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Marc-

Louis-Emmanuel SOLON decorator

(France/England 1835–1913), Flask (c.

1885), porcelain (pâte-sur-pâte). Gift of Dr

Robert Wilson and Colin Lane, 2008

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793), Pair

of lidded vases (c. 1885), porcelain (pâtesur-pâte).

Gift of Dr Robert Wilson and

Colin Lane, 2008; The Pass of Aberglaslyn,

Beddgelert and Loch Lomond, pair of plates

1888, porcelain (bone china). Gift of Dr

Robert Wilson and Colin Lane, 2007

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Désiré

LEROY decorator (England 1840–1908)

THOMAS GOODE & CO. (LTD), London

retailer (England est. 1827), Plate (1880s)

porcelain (bone china). Gift of Dr Robert

Wilson and Colin Lane, 2007

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Anton

BOULLEMIER decorator (England

1840–1900), Vase 1899, porcelain (bone

china). Gift of Dr Robert Wilson and Colin

Lane, 2007

MINTON, Stoke-on-Trent, Staffordshire

manufacturer (England est. 1793) Alboine

BIRKS decorator (England 1861–1941)

PELLATT & CO., London retailer (England

c. 1790 –1895), Plate 1903, porcelain (pâtesur-pâte).

Gift of Dr Robert Wilson and Colin

Lane, 2008

WORCESTER ROYAL PORCELAIN

COMPANY, Worcester manufacturer

(England est. 1862), Vase 1883, porcelain.

Gift of Dr Robert Wilson and Colin

Lane, 2007

WORCESTER ROYAL PORCELAIN

COMPANY, Worcester manufacturer

(England est. 1862) James HADLEY

designer England (c. 1837–1903), Ewer 1888,

porcelain. Gift of Dr Robert Wilson and Colin

Lane, 2007

W. T. COPELAND AND SONS, Stoke-on-

Trent, Staffordshire manufacturer (England

1867–1932) Rafaelle MONTI designer

(Italy/England 1818–80), Love, bust 1873,

porcelain (parian). Gift of Dr Robert Wilson

and Colin Lane, 2007

W. T. COPELAND AND SONS, Stoke-on-

Trent, Staffordshire manufacturer (England

1867–1932), Vase (c. 1880); Sardanapalus,

figure 1881; May Queen, bust 1890, porcelain

(parian). Gift of Dr Robert Wilson and Colin

Lane, 2007

Purchases

Carlo BUGATTI designer (Italy 1856–1940),

Lady’s writing desk and chair (Bureau de dame

et chaise) (c. 1890–1900), ebonised wood,

wood, ivory, vellum, pewter, copper, brass,

cord. Howard Spensley Bequest, 2008; Chair,

from the Snail Room (1902), wood, vellum,

copper. Purchased with the assistance of

Paula Fox, the NGV Women’s Association

and the NGV Supporters of Decorative Arts,

2008 Purchased NGV Foundation, 2008

CHANTILLY PORCELAIN FACTORY,

Chantilly (France (c. 1730–92), Covered

jug (c. 1750), porcelain (soft paste), silver.

Purchased NGV Foundation, 2008

Jacques-Emile RUHLMANN designer

(France 1879–1933), Tivo, chair (c. 1918),

Macassar ebony (Diospyros discolour), wood,

ivory, velvet, (other materials). Purchased,

NGV Women’s Association, 2008; Lady’s

writing desk (Bureau de dame) (c. 1920),

Macassar ebony (Diospyros discolour), wood,

ivory, silver plate, silk tassels. Purchased

with the assistance of the NGV Women’s

Association and Paula Fox, 2007

International Fashion

and Textiles

Gifts

COMME DES GARÇONS, Tokyo fashion

house (est. 1969) Rei KAWAKUBO

designer (born Japan 1942), Jacket 1981

autumn-winter, wool, horn. Gift of Takamasa

Takahashi, 2008; Dress (c. 1984), wool. Gift

of Emmanuel Hirsh, 2008; Jacket, shirt and

skirt 1993 spring-summer, polyester, chiffon,

cotton, calico; Waistcoat and skirt 1994

spring-summer, wool. Gift of Wendy Marshall,

2008; Dress and jacket 1997autumnwinter,

The adult punk (Demolition and

reconstruction) collection, wool, cupra,

synthetic fur, metal, plastic. Gift of Anna

Schwartz, 2008

BALENCIAGA, Paris fashion house (est.

1937) Nicholas GHESQUIÈRE designer

(born France 1971), Sandals 2007 autumnwinter,

leather, plastic, metal, rubber, nylon.

Purchased NGV Foundation, 2008

COMME DES GARÇONS, Tokyo fashion

house (est. 1969) Rei KAWAKUBO designer

(born Japan 1942), Jacket 2005 springsummer,

leather, metal. Purchased NGV

Foundation, 2007

DORIS DE PONT, Auckland fashion

house (1985–94, 2002–) Doris DE PONT

designer (born New Zealand 1954) Margo

BARTON milliner (born New Zealand 1957)

Sofia TEKELA-SMITH (born New Zealand

1970), Outfit comprising Habernero halter top,

Pacific pleats skirt, titi, Hibiscus, Feather and

Pule headpiece, necklace and bangle, 2004

winter, Let’s gather here collection, polyester,

video tape, transparent synthetic polymer

resin, vinyl, cotton thread, mother-of-pearl.

Purchased NGV Foundation, 2008

DORIS DE PONT, Auckland fashion house

(1985–94, 2002–) Doris DE PONT designer

(born New Zealand 1954) Margo BARTON

milliner (born New Zealand 1957), Outfit

comprising Remix shirt, Galatos jean, titi and

Hibiscus and Pule headpiece, 2004 winter,

Let’s gather here collection, cotton, polyester,

viscose, leather, transparent synthetic polymer

resin, vinyl. Purchased NGV Foundation, 2008

DORIS DE PONT, Auckland fashion

house (1985–94, 2002–) Doris DE PONT

designer (born New Zealand 1954), Outfit

comprising Battle jacket, Idol shirt, Cortina

skirt, belt, mittens and tights, 2007 winter,

Sampler collection, cotton, lycra, viscose,

polyester, transparent synthetic polymer

resin; Outfit comprising Brace jacket, Go

west dress, Memory heart necklace and Big

heart necklace, 200708 summer, X my

heart collection, silk, cotton, transparent

synthetic polymer resin. Purchased NGV

Foundation, 2008

HARTNELL, London fashion house (est.

1923) Norman HARTNELL designer

(England 1901–79), Coat (c. 1937), silk velvet,

rayon, synthetic braid, silk (lining). Purchased

NGV Foundation, 2008

LANVIN, Paris fashion house (est. 1909),

Alber ELBAZ designer (born Morocco

1961, lived in Israel 1971–85, United States

1985–96, France 1996–), Dress 2008

spring-summer, silk tulle, silk (lining), nylon,

metal; Necklace 2008 spring-summer,

plastic, rayon ribbon, cotton cord, diamanté.

Purchased with funds donated by Kerry

Gardner, 2008

THIERRY MUGLER, Paris fashion house

(est. 1974) Thierry MUGLER designer (born

France 1946), Dress 1990 spring-summer,

acetate, viscose, metal. Purchased NGV

Foundation, 2007

min, edition of three. Purchased with funds

donated by Loti Smorgon AO and Victor

Smorgon AC, 2008

International Painting

Gifts

Jacques-Emile BLANCHE (French

1861–1942), The pink rose (1890), oil on

canvas. Gift of Alice Vaughan, 2008

Purchases

Amédée OZENFANT (French/American

1886–1966, worked in Russia 1910–13) Still

life (Nature morte) (1920), oil on canvas. The

Eugenie Crawford Bequest, 2007

John PULE (Niuean 1962–, emigrated to

New Zealand 1964) Mamalu (When I look

at the world) 2007, oil, ink and enamel on

canvas. Purchased NGV Foundation, 2007

INternational

Photography

Gifts

Roger CUTFORTH (English 1944–, worked

in United States 1967–), Location piece #1

1969, gelatin silver photographs, plastic. Gift

of Robert Rooney, 2008

Boyd WEBB (New Zealander 1947–, worked

in England 1976–), Australasian art piece no.

1 (1972), letterpress on paper, staple, rubber

stamp; Wakatipu 1973, black paper, gelatin

silver photographs, adhesive tape. The Ian

Brown Collection. Gift of the Reverend Ian

Brown, 2008

Purchases

Yinka SHONIBARE (English 1962–), The

sleep of reason produces monsters (Asia); The

sleep of reason produces monsters (Australia)

2008, type C photograph. Purchased, NGV

Contemporary, 2008

WANG Qingsong (Chinese 1966–)

Preincarnation 2002, type C photographs.

Purchased with the assistance of the Lillian

Ernestine Lobb Bequest, 2007

ZHANG Huan (Chinese 1965–, worked in

United States 1998–), Shanghai family tree

2001, type C photographs. Purchased with

funds donated by Jason Yeap and Min Lee

Wong, 2008

Léonard FONTAINE (French 1762–1853,

worked in Italy 1785–90), View of the great

casino of the Villa Albani (Vue du Grand

Casin de la Villa Albani) (1786–1809), pen

and ink and wash with white gouache and

watercolour, on secondary support with

engraved text. Gift of Alice Vaughan, 2008

Drawings — Purchases

Giovanni Domenico TIEPOLO (Italian

1727–1804, worked in Spain 1762–70,

Germany 1750–53), Sheet of studies: The

head of Cleopatra; and a Closed hand (recto);

A raised arm; and a Hand holding a dish

(verso) (1744), black chalk, heightened with

white chalk, on grey-green paper. Purchased

NGV Foundation, 2008

Prints — Gifts

Simeon Nelson (born England 1964, lived

in Australia 1967–2001) Looking up into the

matrix; (Preliminary drawing for a centenary

sculpture of Alfred Felton); (Preliminary

drawing for a centenary sculpture of Alfred

Felton); View from above at night (2003),

computer generated colour inkjet print.

Commemorating 100 years of the Felton

Bequest 1904–2004. Felton Bequest, 2004

Oceanic

Gifts

Awaneen village, Tufi district, Oro

Province, Papua New Guinea Double pig

tusk necklace (20th century), pig tusk, cowrie

shell, wild banana seed, fibre string, tapa

string. Gift of Louise and Sam Dawson, 2008

Baga village, Tufi district, Oro Province,

Papua New Guinea Head ornament (20th

century), nasa shell, fibre string; Mother-ofpearl

necklace (20th century), mother-ofpearl,

turtle shell, shell, seed, fibre string.

Gift of Louise and Sam Dawson, 2008

Jebo village, Tufi district, Oro Province,

Papua New Guinea, Clam shell ring necklace

(20th century), clam shell, candle nut, fibre

string, tapa string, plastic; Double pig tusk

necklace (20th century), pig tusk, conus

shell, fibre string, tapa string; Mother-of-pearl

necklace (20th century), mother-of-pearl,

shell, nylon cord; Shell necklace (20th

century), conus shell, fibre string, pigment on

tapa string; Shell necklace (20th century),

conus shell, fibre string, cotton; Shell necklace

(20th century), conus shell, fibre string,

pigment on tapa string, nylon cord; Shell

necklace (20th century), conus shell, fibre

string; Shell necklace (20th century), conus

shell, fibre string, tapa string. Gift of Louise

and Sam Dawson, 2008

Jiwaka, Banz, Western Highlands

Province, Papua New Guinea, Cane figure,

Bolumbuku (1980s), wood, pigment, fern tree,

seed, fibre, shell, mother-of-pearl. Gift of Chris

Boylan, 2008


Kagua, Erave district, Southern Highlands

Province, Papua New Guinea, Shield

(1960s), wood, pigment, fibre string. Gift of

Chris Boylan, 2008

Massim people, Trobriand Islands, Milne

Bay Province, Papua New Guinea, War

shield (19th century), earth pigment on wood,

fibre; Wealth spatula; Wealth spatula (early

20th century), wood, shell, fibre, lime; Turtle

wealth spatula (mid 20th century), turtle shell,

shell, fibre, lime. Gift of Todd Barlin, 2008

Melpa people, Western Highlands

Province, Papua New Guinea, Moka kina

(1980s), mother-of-pearl, pigment, tree resin,

cane. Gift of Chris Boylan, 2008

Mendi, Munihu district, Southern

Highlands Province, Papua New Guinea,

Archer’s shield (1940s–50s), wood, pigment,

fibre string. Gift of Chris Boylan, 2008

Tufi district, Oro Province, Papua New

Guinea, Clam shell ring necklace (20th

century), clam shell, bush seed, wild banana

seed, fibre string; Double pig tusk necklace

(20th century), pig tusk, conus shell, wild

banana seed, fibre string, tapa string; Head

rest (20th century), wood; Shell necklace;

Shell necklace (20th century), shell, wild

banana seed, nylon cord; Shell necklace (20th

century), conus shell, shell, wild banana seed,

nylon cord; Single pig tusk necklace (20th

century), pig tusk, conus shell, wild banana

seed, sago palm seed, fibre string; Snake

teeth necklace (20th century), snake teeth,

shell, candle nut, fibre string, tapa string;

Trocus shell necklace (20th century), trocus

shell, cone shell, wild banana seed, fibre

string; Turtle shell comb (20th century), turtle

shell, shell, wild banana seed, fibre string; War

and peace ornament (20th century), pig tusk,

pigment on tapa string, fibre string, cotton.

Gift of Louise and Sam Dawson, 2008

108 Rommy Ofair (Utukwaf people c.

Uwe village, Tufi district, Oro Province,

109

1930–2005), Double pig tusk necklace (20th Papua New Guinea, Double pig tusk

century), pig tusk, shell, candle nut, fibre

necklace (20th century), pig tusk, shell, fibre

string, tapa string. Gift of Louise and Sam

cord, tapa string. Gift of Louise and Sam

Dawson, 2008

Dawson, 2008

Orotoaba village, Tufi district, Oro

Province, Papua New Guinea, Clam shell

ring necklace (20th century), clam shell,

shell, fibre string; Double pig tusk necklace

(20th century), pig tusk, candle nut wild

banana seed, fibre string; Shell necklace

(20th century), conus shell, fibre string; Shell

necklace (20th century), conus shell, wild

banana seed, seed, fibre, pigment of tapa

string. Gift of Louise and Sam Dawson, 2008

Popondetta, Oro Province, Papua New

Guinea, Head ornament (20th century), nasa

shell, pigment on fibre string. Gift of Louise

and Sam Dawson, 2008

Safia, Oro Province, Oro Province, Papua

New Guinea, Bailer shell necklace, Dodoura

(20th century), bailer shell, shell, fibre

string, tapa string. Gift of Louise and Sam

Dawson, 2008

Safia/ Bibira, Oro Province, Papua New

Guinea, Clam shell necklace (20th century),

clam shell, fibre string, tapa string; Double

clam shell wealth rings (20th century), clam

shell, pigment on fibre string; Shell necklace;

Shell necklace (20th century), conus shell,

candle nut, fibre string; Shell necklace (20th

century), conus shell, fibre string. Gift of

Louise and Sam Dawson, 2008

Siu village, Tufi district, Oro Province,

Papua New Guinea, Shell necklace (20th

century), wood; Shell necklace (20th century),

conus shell, wild banana seed, nylon cord;

Shell necklace (20th century), cowrie shell,

wild banana seeds, nylon cord; Shell necklace

(20th century), conus shell, receptacle, nylon

cord; Shell necklace (20th century), conus

shells, seed, fibre string; Shell necklace (20th

century), cowrie shell, fibre string, pigment

on tapa string. Gift of Louise and Sam

Dawson, 2008

Wanigela, Oro Province, Papua New

Guinea, Head ornament (20th century), nasa

shell, shell, wild banana seed, fibre string. Gift

of Louise and Sam Dawson, 2008

Purchases

Aspesa Gadai (Omie people born 1961),

Omie mountains, Dahorué 2004; Fruit from

a tree and jungle vines, Sihaé and odunege

2006, natural pigments on bark fibre (nyog’e).

Purchased NGV Foundation, 2008

Pauline Rose Hago (Omie people born

1964), Jungle vines, Odunege 2006, natural

pigments on bark fibre (nyog’e). Purchased

NGV Foundation, 2008

Jean Magreat Hoijo (Omie people born

1956), Backbone of mountain fish and jungle

vines, Visuanoé and odunege 2006, natural

pigments on bark fibre (nyog’e). Purchased

NGV Foundation, 2008

Dapeni Jonevari (Omie people born 1949),

Omie custom creation 2006, natural pigments

on bark fibre (nyog’e). Purchased NGV

Foundation, 2008

Nerry Keme (Omie people born 1975), Tree

bark, Obohutaigué 2007, natural pigments

on bark fibre(nyog’e). Purchased NGV

Foundation, 2008

Vivian Oviro (Omie people born 1970), Fruit

from a tree, Sihaé 2002, natural pigments

on bark fibre (nyog’e). Purchased NGV

Foundation, 2008

International Sculpture

Gifts

Simeon NELSON (born England 1964, lived

in Australia 1967–2001), (Maquette for the

Alfred Felton centenary sculpture) (2003),

metallic and enamel paint on wood, plastic,

metal, wood, fabric. Commemorating 100

years of the Felton Bequest 1904–2004.

Felton Bequest, 2004

Purchases

François POMPON (French 1855–1933)

CLAUDE VALSUANI, Paris foundry (French

1909–79), Polar bear (Ours blanc) (1925,

cast c. 1933), bronze. Purchased with the

assistance of the proceeds of the National

Gallery of Victoria Annual Dinner, 2007


Scholarly Publications and Papers

by National Gallery Of Victoria Staff

NGV, 2008.

hyperspectral image analysis of elemental

110 111

DR ALEX BAKER

DR ISOBEL CROMBIE

AMANDA DUNSMORE

SOPHIE MATTHIESSON

and micro-Raman maps of cross-sections

• ‘It’s All About You: Generosity in the art of

Harrell Fletcher’ (Joseph Burke Lecture),

Melbourne Art Journal, University of

Melbourne, 2008.

LAURIE BENSON

• (contributor) Art Deco 1910–1939,

NGV, 2008.

ALISA BUNBURY

• ‘Kiki Smith’, Art Bulletin of Victoria: 47,

NGV, 2007.

• (contributor) Ted Gott et. al, Modern Britain

1900–1960: Masterworks from Australian

and New Zealand Collections, NGV, 2007.

• (contributor) Wayne Tunnicliffe and Jason

Smith (eds.), An Incomplete World: Works

from the UBS Art Collection, Art Gallery of

NSW / NGV, 2007.

• ‘ Art is for the Spirit: works from The UBS Art

Collection, Mori Art Museum, Tokyo, 2008.

• (contributor) Tuner to Monet: The Triumph

of Landscape Painting, National Gallery of

Australia, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

HUMPHREY CLEGG

• (contributor) Art Deco 1910–1939,

NGV, 2008.

• ‘Wolfgang Sievers: A great Australian

modernist photographer’, Flash, Centre for

Contemporary Photography, August 2007.

• ‘Reveries’, Australian Book Review, no. 296,

November 2007.

• ‘Body Language’ in Art World, issue 1,

January 2008.

• ‘The Painted Photograph in Tasmania’, Art in

Australia, 2008.

• Body Language: Contemporary Chinese

photography, NGV, 2008.

• ‘The Uphill Road: Cezanne’, in C. Dixon (ed.),

Turner to Monet: The Triumph of Landscape,

National Gallery of Australia, 2008.

• ‘The Razzle Dazzle’ in N. Bullock (ed.),

Harold Cazneaux, Art Gallery of New South

Wales, 2008.

• (contributor) Art Deco 1910–1939,

NGV 2008.

Papers:

• Monash Gallery of Art, ‘Opening of ‘Lee

Miller’s War’ exhibition’, 2007.

• Krishna: Love and Devotion, ‘Great Beings:

Great spiritual lovers’, 2007.

• Public lecture, ‘Typecast: photography and

eugenics’, 2008.

• Body Language Symposium, ‘Body

language: contemporary Chinese

photography’, 2008.

PAOLA DI TROCCHIO

• (contributor) Art Deco 1910–1939,

NGV, 2008.

• (with Roger Leong, Laura Jocic, and

Danielle Whitfield) Black in Fashion:

Mourning to Night, NGV, 2008.

• ‘Art and Design’, in Ted Gott et. al, Modern

Britain 1900–1960: Masterworks from

Australian and New Zealand Collections,

NGV, 2007.

• ‘Eric Ravilious’, in Ted Gott et. al, Modern

Britain 1900–1960: Masterworks from

Australian and New Zealand Collections,

NGV, 2007.

• ‘Carlo Bugatti’s Throne ‘, Art Bulletin of

Victoria: 47, NGV, 2008.

• ‘Michael Powolny’s Bluebell putto’, World of

Antiques and Art, 72 nd ed, 2007.

• ‘Great Exhibitions: The World Fairs

1951-1937’, World of Antiques and Art, 73 nd

ed, 2008.

• ‘François Pompon’s Polar bear (Ours blanc)’,

World of Antiques and Art, 74 nd ed, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

Papers:

NGV Women’s Association Annual Lecture,

‘Aristocratic Splendour: the development

of style in the 18th century English country

house’ 2008.

MAGGIE FINCH

• ‘Elaine Campaner: Model Society’, Photofile,

vol. 82, Summer 2008.

• ‘Loretta Lux’s The Drummer’, Art Bulletin of

Victoria: 47, NGV, 2007.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

DR EDWARD GOTT

• Modern Britain 1900–1960. Masterworks

from Australian and New Zealand

Collections, NGV, 2007.

• ‘An Iron Maiden for Melbourne — the

History and Context of Emmanuel Frémiet’s

1906 Cast of Jeanne d’Arc’, The La Trobe

Journal, No. 81, Autumn 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

Papers:

nd

• Crossing Cultures: 32 Congress of the

International Congress of the History

of Art (CIHA), ‘Military Objectives —

Reconstructing the Life and Art of Louis

Duffy’, 2008.

KIRSTY GRANT

• (contributor) Art Deco 1910–1939,

NGV, 2008.

ALISON HOLLAND

• (contributor) Art Deco 1910–1939,

DAVID HURLSTON

• (contributor) Art Deco 1910–1939,

NGV, 2008.

LAURA JOCIC

• (with Roger Leong, Paola Di Trocchio,

and Danielle Whitfield) Black in Fashion:

Mourning to Night, NGV, 2008.

• (contributor) Art Deco 1910–1939,

Paper:

NGV, 2008.

• Margins, Seventh Annual Symposium

The New Zealand Costume and Textiles

Section of the Auckland Museum Institute,

‘Contested boundaries: Collecting

nineteenth century Australian-made

garments at the National Gallery of

Victoria’, 2008.

TRACEY JUDD IVA

• (contributor) Art Deco 1910–1939,

NGV, 2008.

PETRA KAYSER

• (contributor) Art Deco 1910–1939,

NGV, 2008.

TERENCE LANE

• (contributor) Art Deco 1910–1939,

NGV, 2008.

CATHY LEAHY

• (contributor) Art Deco 1910–1939,

NGV, 2008

ROGER LEONG

• (with Paola Di Trocchio) Super Bodies:

Heroic Fashions from the 1980s, NGV, 2007.

• Book review for A Big Life: Jenny Kee (2006),

Object Magazine, issue 55,

August-November 2007.

• (with Paola Di Trocchio, Laura Jocic,

and Danielle Whitfield) Black in Fashion:

Mourning to Night, NGV, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

• FRANCES LINDSAY

• ‘Sidney Nolan: the end of St Kilda Pier’, in

Barry Pearce, Sidney Nolan, Art Gallery of

NSW, 2007.

• ‘We mean business: John Stringer

(1937-2007)’, Art Monthly Australia, issue

207, March 2008.

• ‘(contributor) Art Deco 1910–1939,

NGV, 2008.

MATTHEW MARTIN

• ‘(contributor) Art Deco 1910–1939,

NGV, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

DR MAE ANNA PANG

• Moon in reflection, The art of Kim Hoa Tram,

NGV, 2008.

• ‘An Orthodox Master and an Individualist,

Wang Yuanqi (1642-1715) and Daoji

(1642-1707)’, Art Bulletin of Victoria: 47,

NGV, 2007.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

Papers:

• Art Gallery of NSW, ‘Poetic Inspiration in

Chinese Painting’, 2008.

• Queensland Art Gallery, ‘Mountains and

Streams, Chinese paintings in the National

Gallery of Victoria Collection’, 2008.

JUDITH RYAN

• ‘George Tjungurrayi’, Art & Australia, Vol. 44

No. 4, Winter 2007.

• ‘Jean Baptiste Apuatimi’ in Brenda l.

Croft (ed.), Culture Warriors: National

Indigenous Art Triennial, National Gallery of

Australia, 2007.

• ‘Politics, Truth and Blood, Indigenous art

matters’ in Power & Beauty, Heide Museum

of Modern Art, 2007.

• ‘Shock of the ancient made new’ in Beyond

Sacred: Recent painting from Australia’s

remote Aboriginal communities: the

collection of Colin and Elizabeth Laverty,

Hardie Grant Books, 2008.

Papers:

• Australian Decorative & Fine Arts Society,

‘The Raw and the Cooked: The Aesthetic

Principle in Aboriginal Art’, 2008.

• Art is Political symposium, ‘Art is metaphor

not slogan’, 2008.

LISA SASSELLA

Paper:

• Melbourne Business School,

‘National Gallery of Victoria:

Rethinking a Brand’, 2008.

CARL VILLIS

• ‘Materiali, tecnica e procedimento esecutivo

nell’opera del giovane Bernardo Bellotto’,

in Canaletto e Bellotto: L’Arte della Veduta,

Palazzo Bricherasio, Turin, 2008

• (with Deborah Lau, Scott Furman and

Michelle Livett): ‘Multispectral and

from a 16th Century painting’, in Analytica

Chimica Acta 610, 2008.

DANIELLE WHITFIELD

• (with Roger Leong, Paola Di Trocchio, and

Laura Jocic) Black in Fashion: Mourning to

Night, NGV, 2008.

• ‘K-50 and ‘rock of eye’ – A short history

of tailoring’ in How You Make it, Craft

Victoria, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

• ‘Material By Product’, Art Bulletin of Victoria:

48, NGV 2008

Papers:

• Margins, Seventh Annual Symposium

The New Zealand Costume and Textiles

Section of the Auckland Museum

Institute, ‘On the margins of melancholy:

Fashionable mourning in the Victorian era

(1837-1901),’ 2008.

SUSAN VAN WYK

• 291: Photographers in the circle of Alfred

Stieglitz, NGV, 2008.

• (contributor) Art Deco 1910–1939,

NGV, 2008.

Papers:

• Global Photographies: Histories, Theories,

Practices; Institute of Art, Design

and Technology, ‘Departure Lounge:

Photographs by Max Pam and Matthew

Sleeth’, 2007.

• Fotofreo Conference, ‘Glad All Over:

Photographs by Rennie Ellis’, 2008.


Disclosure Index

The Annual Report of the Council of Trustees National Gallery of Victoria is prepared in accordance with all relevant Victorian legislation.

This index has been prepared to facilitate identification of the NGV’s compliance with statutory disclosure requirements.

112

Requirement Legislation Page Ref

MINISTERIAL DIRECTIONS: REPORT OF OPERATIONS

Charter and purpose

Manner of establishment and the relevant Ministers FRD 22 35

Objectives, functions, powers and duties FRD 22 35

Nature and range of services provided FRD 22 4

Management and structure

Organisational structure FRD 22 56–7

Financial and Other Information

Workforce data / application of employment and conduct principles FRD 22 93

Summary of the financial results of the year FRD 22 62–3

Significant changes in financial position during the year FRD 22 62–3

Operational and budgetary objectives and performance against objectives FRD 22 62–3

Major changes or factors affecting performance FRD 22 62–3

Subsequent events FRD 22 91

Application and operation of Freedom of Information Act 1982 FRD 22 96

Compliance with building and maintenance provisions of Building Act 1993 FRD 22 96

Statement on National Competition Policy FRD 22 97

Application and operation of the Whistleblowers Protection Act 2001 FRD 22 96–7

Details of consultancies over $100,000 FRD 22 97

Details of consultancies under $100,000 FRD 22 97

Disclosure of major contracts FRD 12 97

Statement of availability of other information FRD 22 98

Occupational health and safety FRD 22 96

Disclosure index FRD 10

Victorian Industry Participation Policy disclosures FRD 25 97

Environmental Performance FRD 24B 96

Attestation on Compliance with Risk Management Standard SD 4.5.5

Financial statements required under Part 7 of the Financial Management Act 1994

FRD 24B

Compliance with Australian accounting standards and other authoritative pronouncements SD 4.2 (c) 68, 72, 83

Compliance with Ministerial Directions SD 4.2 (c) –

Rounding of amounts SD 4.2 (d) 75

Accountable officer’s declaration SD 4.2 (c) 68

Statement of financial performance SD 4.2 (b) 69

Statement of financial position SD 4.2 (b) 70

Statement of cash flows during the year SD 4.2 (b) 59 71

Other disclosures in notes to the financial statements

Disclosure of ex-gratia payments FRD 11 –

Disclosure of parliamentary appropriations FRD 13 75

Responsible person and executive officer disclosures FRD 21 89

Superannuation liabilities and disclosure FRD 23 89

Legislation

Page Ref

Freedom of Information Act 1982 96

Building Act 1983 96

Whistleblowers Protection Act 2001 97

Victorian Industry Participation Policy Act 2003 97

Information Privacy Act 2000 96

Multicultural Victoria Act 2004 94

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